Barun Chowdhury

What is the core of your painting?
My work has always been concerned with the depiction of the mankind with particular emphasis on the social male and his relation to his world, society and social issues. These figures create a platform and a space of their own where the search for the truth and relevance of what is happening in the world today.
I suppose the broader notions of my existence and work revolve around the questions, who are we? Why are we here? And where are we going? I don’t pretend to have any of the answers to these questions but I hope that my work can articulate situations or emotions that many people can identify with.

Your paintings tell stories…
My work is related to what I feel and so they tend to become an extension of me. I work with a mixture of found images as well as images, which are very personal, often autobiographical and photographic. These form a massive library, collected over the last 15-18 years, an eclectic range of personal and archetypal iconography that is constantly growing. Often I reuse and transfigure these images, manipulating them manually or even electronically, relevant to the intention of each artwork.

Is your present work a continuation of the narrative works you did earlier?
My earlier works were focused on socio-political issues, fundamentalism and consumerism as well as the identity of mankind. Yes, my present work is continuation of that in many ways, in terms of themes. Now these very ideas of terrorism, and unity, recur in a different perspective. However, I am more satisfied with my current work since they are less personal and more humorous. The concept remains the same as in my previous works, though there is a definite and deliberate refinement in the treatment of the visuals, physically as well as aesthetically.
This type of visualization, which is more sophisticated, forces the viewer to figure out what I am trying to convey. My earlier paintings were much more straightforward. The message was always direct. This change is not to delude the viewer but is to get him more involved in the painting. Actually now I am a little more conscious regarding these aspects, but not to a point of allowing this to change my work totally. I want to explore my imagination while retaining a certain essence.

How do you judge your work?
Actually I am satisfied to the extent that I put in all of my abilities and emotions on the canvas while painting. Then I feel that I have done my bit. A sense of accomplishment is achieved only when there is a complete balance of aesthetics, colour and use of space and visual creativity.

Where do you wish to go from here?
I want to continue with the type of work I am doing. To grow and mature with my work is very important while exploring my skill, imagination and emotions.

Serigraphy has taken a back seat now. Why?
There is more demand for paintings at the moment. Yet serigraphy continues to be one of my favourite mediums of work.

Do you think that being an artist presently is advantageous?
With the type of feelings and ideas that keep coming into my mind, I think that probably had I been living in another period of time I would have been a revolutionary. With painting, I feel I am comparatively safe, and am still able to speak my mind without really having to worry about the reaction I may cause.
On a more realistic note, being an artist today is promising with people awareness and appreciation on the upside. But, I think I am lucky and happy because my hobby and profession are the same.

Do you feel that the modern contemporary Indian artist is making a hard effort to pursue and develop a style individual to himself as a means to creating his identity?
In any profession, there are often people who try to scale the mountain too high too fast. In fact I do not have any problem with this though I am of the opinion that what comes easily goes equally easily and something of strength, built up over time will definitely be more enduring.

When one continues to work regularly, an individual style is developed. I don’t believe that a certain stereotype becomes ones style. My works contain a continuous rhythm rather an identity signature. This rhythm is the commonality of my works. There should be a relation much more significant and enduring than a pictorial element or quality.

Your favourite artist would be…….
I have many favourites. Bhupen Khakkar, Baiju Parthan, Abhir and many more. I am particularly fond of Anandjit's work.

All your works are rather elaborately titled. Why?
Titles are very important part of my work. In a way the title of any of my paintings takes on the central position by assisting and aiding one in its understanding. Though the painting itself tells a story, it is by the means of the title that I want to give the work a voice, which will ultimately guide the viewer to see the painting through my eyes.

You mention that your work retains a certain Indianness though it is global. Could you elaborate?
My Indianness does not lie in traditional influences but in our Indian sensibility, in our culture. Also the themes of all my works are related to issues or instances pertaining to India. They go back to the idea of unity.

Your inspiration?
My mother, wife and family definitely inspire me to paint. So do my viewers. I always enjoy previewing my work for the feedback that it generates.

Who has influenced your work?
Various elements and qualities from different artists have crept into my psyche and have influenced me to a certain extent.

Do you feel a certain responsibility being an artist?
Being an artist has given me a great platform to share and convey messages, be it about myself or about issues that keep coming back to me. With this knowledge I try to give full justice to my work and my viewers.


Interview by Arati Desai