...............................................................................................Artist

  The Eyes of Thar 

Satish Gupta, celebrated artist, poet and sculptor, leaves his footprint on the sands of time.

Every painting and drawing of Satish Gupta's series 'The Eyes of Thar' draws the viewer's attention to the eyes of the artist's subjects. All the eyes, male and female, literally match 'eye to eye,' both in style and form. To quote artist Satish Gupta, "To be able to look in the eye and converse with the figures on canvas, that is what I am trying to do with my works. And when I achieve that, it is exhilarating - for each figure has a story of its own, a song of its own."

Gupta, whose passion lies in the print-making series, breaking from all the rules of the trade, has a fair number of solo and group exhibitions to his credit in Mumbai, Delhi, Calcutta, Chennai, Paris, New York and Spain. His most recent exhibition 'The Eyes Of Thar' was held at the NCPA, Mumbai. The artist has also created many graphic murals for public spaces including a 260 foot long mural at the Indira Gandhi International Airport at New Delhi. Also to his credit is the design of a stage at the Siri Fort, New Delhi, for a concert by Pandit Ravi Shankar.

Gupta speaks every language of art - calligraphy, pottery, painting, drawing, sculpting and even poetry. Mumbaibest speaks to the the talented artist on his latest love - The Thar desert.

Most of your drawings look understated, not portraying harsh realities of the Thar. Also your bright hued paintings are a sharp contrast. Comment.
In this series, I was trying to get into the life of the people of Thar, focusing on the inner self, on the human being, rather than the exterior. That could be the reason why the drawings look understated. There is a contrast between my drawings and my paintings; while my drawing are soft and sober, my paintings are bright and bold. The black and white drawings do not have the intensity of the colour, but they do have a meditative quality. I look at them in totality.

Are your paintings always based on themes?
I like to work on particular subjects and get involved in the depths they offer. I work on particular themes for years until I feel saturated. I do most of the studies on the spot, except for the very large ones, which I do at the studio. If I cannot paint on site, I do it at the place where I am staying so that I can have easy access to my models. I do take photographs of my subjects, basically to note the gesture and add spontaneity.

Has your work always bordered on realism?
Surprisingly, for the last 10 years, I have been working on the Thar. That is a major part of my life. My main motivation for the book was to have it as a retrospective. Before the series, my work was almost minimalistic, white on white. I never painted figures, only seascapes and cloud scapes. Till I came to a point when it was totally white on white, and no images. Then came the turning point, Thar.

What drew you to Thar?
When I was 12 or 13 years old I first went to Jaisalmer. There was no electricity, we went in the metre gauge train. It was all very romantic with the old world charm. Now, some of the houses and buildings that I have drawn or painted, have been destroyed, and replaced by concrete structures. In a way I have captured a part of time, because my work is kind of documented. I have taken off-beat tracks for my journey, not just tourist places. Over 10 years I must have made nearly 150 visits to the Thar.

How is your technique different from that of oil on canvas?
I first sketch my subject, etch it on a metal plate, then paint the plate and finally take an impression on canvas. I never take a second impression, because I want to use the technique like sculpture and not lose out on texture and quality. There is no impasto or thick paint used - only transparent layers one on top of the other. Once I have inked the plate, the impression has to be taken immediately. I get my inks done in Japan to my specification. They are colour fast and of high quality. Using natural colours would not work with this technique, maybe it will work on fabric, but not on canvas. Some of my works are 20 feet and 30 feet high and they just will not work that way.

How would you compare young contemporary artists with that of the previous generation?
I would not downgrade contemporary art, because a lot of talent, skill and imagination goes into it. I would like to think of it as a different approach to art. But, today what is lacking is the basic foundation - drawing and sketching. You cannot build a structure without a sound foundation, even though it might be decorative. Drawing is the backbone of any art. Few young artists take the trouble to draw or sketch their subject. Once you have your basic sketch in place, you can distort or destroy it or create an end result without form. I have found that the younger generation of artists do not have the patience to work hard.

There are artists who paint for themselves and others who are more commercially oriented.Would you like to comment on these differing trends.
There is so much pressure on the artist to make it big. I had my first show when I was 18 but, thereafter, I struggled to have a meaningful show in a gallery. I have travelled all over Europe and other countries with my portfolio hoping that somebody would discover my talent. Today artists get discouraged very soon and want to make it big fast.

I have faced criticism from critics who have stood at the doorway of my gallery and written nasty things about my work without even viewing it. In many shows, I have not been able to sell a single work. With the television and media creating such a competitive atmosphere, there is so much pressure to succeed. I think about 90 to 95 per cent of the artists barely manage to make ends meet.

It is a constant struggle for most. In ideal conditions, I would not paint commercially, but if I am short of money, I would have to do some commercial work to keep going.

Gupta provides a poetic conclusion
The story of my life
Written in the sands of time
Buried in the warm dunes
- How many more
Caravans will move on
Without noticing
The faint shadow
This ripple creates.

Interview: Anupama Vinayak