K. S. RADHAKRISHNAN
We know that Radhakrishnan is a sculptor. But is he
not also a choreographer? And is this choreography of a single dance form
or is the fluidity of his work a putting together of many streams into
a leaping overarching whole. His work, drawn from traditional ideas, transcends
these because of the fertility of his own mind. This free flowing stream,
that somehow connects with his hands and produces amazingly lyrical sculpture,
seems to come from a sense of freedom emanating from man's ability to
stretch and reach beyond his human condition. It is perhaps this belief
that makes him able to change metallic bronze into ether and space, each
merging into the other and yet retaining its own place.
S. HARSHA VARDHANA
Look out of a window through the finest of gauze. See
the landscape, muted in tone, layers of colour blending into another or
emerging out of it. Add a further layer of luminosity, a moonlit glow,
perhaps dredged from some incandescent dream and you see Harsha Vardhana's
works. And we have not mentioned the sense of space engendered as a feeling
of tranquility flowing over our senses. According to the artist, his paintings
are not a medium of expression or statement - they are an experience that
is there to be enjoyed.
Sunil Padwal, graphic designer, illustrator, visualiser,
finally displayed his greatest talent, that of an artist, in 1994. Padwal
carries with him no claims from the past - his work has no links with
old styles, ancient cultures, folk traditions or mythology. Instead his
linkage is with western graffiti art and Russian iconography. His work
is about the human figure, lonely, challenged and challenging, enigmatic,
brooding. His visual work is dramatic, his painting intense, his use of
different objects to create a third dimension, exciting. His works as
a result have a universal appeal.
For Sachin Karne, the direction in his works emanates
from where he locates himself to a place or to its history and then how
he reacts to such a location. His work therefore is very personal as well
as very articulate if it is to express his views, uninhibited by earlier
opinions or mores. That he does so successfully is apparent in his work.
Through this personal anguish he has to thread his way until he obtains
the coherence he seeks in the final presentation through the direction
of his choice.
Riyas Komu's art is, he says, a silent protest. He
works to make a statement not an aesthetic piece. But in the process of
completing that statement, he manages almost as an afterthought, to delight
not only our minds, but also our eyes.
A Malayali transposed into a Mumbaiwala, he seeks its underbelly, throws
it at us and in the throw adds a lyricism that is difficult not to acknowledge.
Riyas's paintings are created out of a realistic imagery. They force us
to concentrate on the plight of humanity rendered through his most articulate