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"Instead of the hopeful experience that comes with ambition, Sharma's landscapes are pervaded by a sharp disenchantment towards the race to modernization [...] Human life is conspicuous by its absence.”
(Girinandini Singh, "Urban Exploration in Pooja Iranna's Silently: A Proposed Plan for Rethinking the Urban Fabric and Nataraj Sharma's Travel Log", Critical Collective, online

Nataraj Sharma divides his composition over... "Instead of the hopeful experience that comes with ambition, Sharma's landscapes are pervaded by a sharp disenchantment towards the race to modernization [...] Human life is conspicuous by its absence.”
(Girinandini Singh, "Urban Exploration in Pooja Iranna's Silently: A Proposed Plan for Rethinking the Urban Fabric and Nataraj Sharma's Travel Log", Critical Collective, online

Nataraj Sharma divides his composition over multiple panels as a means to control the viewer’s attention. Speaking of his image construction he says, “I like the chance to direct the viewer’s gaze and also of breaking the smooth continuity of space and time.” (Artist quoted in Ranjit Hoskote, “Five Studies for a Portrait of Nataraj Sharma”, Nataraj Sharma, New York: Bose Pacia, 2005) Colour is another compositional strategy according to gallerist Peter Nagy. In this work, shades of grey, green and ochre are “orchestrated into resounding compositions that startle with both their simplicity and charged effects. Atmosphere itself seems to be the subject of these works, the tricks that light and water play on the eyes and the brain as they combine in space and change over time.” (Peter Nagy, “To Bridle the Tremours (Nataraj Sharma’s painterly path)”, Nataraj Sharma, 2005) The artist evokes sense memory in presenting a bird’s-eye view of an agricultural landscape. Art critic Ranjit Hoskote expounds on Sharma’s evocative powers, “Fidelity to the perceived object has been crucial to Nataraj’s practice. He expresses a love of sensation and a desire to memorialise it, to craft it into a coherent tapestry of images: the jaggedness of stone or the startling blue of a crumpled tarpaulin; the feel of tools and toys; the rawness of a yellow, the temperature of a red; the thickness of effluent, the contours of a mountain. By continual wrestling with outline, specific gravity, shadow, mass and its occupancy of space, he achieves a poetics of reverie.” (Hoskote, 2005)

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