Important Notice

Sourcing his images from historical archives and current news media, Shibu Natesan revels in juxtaposing seemingly unrelated elements on his canvases to probe the validity of perception and belief. By unsettling the world-view of his audience, Natesan challenges the authenticity of trends and received images and information. “Using unexpected combinations and sources, Natesan confronts the viewer with symbols that are vaguely familiar on their... Sourcing his images from historical archives and current news media, Shibu Natesan revels in juxtaposing seemingly unrelated elements on his canvases to probe the validity of perception and belief. By unsettling the world-view of his audience, Natesan challenges the authenticity of trends and received images and information. “Using unexpected combinations and sources, Natesan confronts the viewer with symbols that are vaguely familiar on their own, yet in juxtaposition to each other evade direct connections to the real world. Familiar images are combined with bold, colorful palettes to enhance Natesan’s unique, collage-like compilations – the result is a mixture of hyper-realism and fantasy” (Jack Shainman Gallery website, accessed October 2010).

It is through these disconcerting images that “Many of Natesan’s works explore themes of social and political contradiction, as well as symbols of power” (Ibid.). Of the figures adopted by the artist in these explorations, one of the most recognisable is Bob Marley. As a representative of the unique Rastafarian movement and its beliefs, Natesan’s images of Marley highlight the primacy he affords unusual and localized practices over the homogenizing currents of globalization.

In the present lot, a large and riveting canvas, the singer “…is seated at the center of the composition meeting the viewer’s eye. Surrounding him, though facing away, are four beautiful young choir girls singing, with bibles enclosed in their folded hands. Flanking Marley are portraits of Haile Selassie and Marcus Garvey, figureheads of the Rastafarian movement. The composition, which draws parallels with Jan van Eyck’s The Adoration of the Lamb (1432, Saint bavo cathedral of Ghent), is unusual because it subverts our visual knowledge of Bob Marley, especially within this idolatrous surrounding, since we know Marley resisted the hierarchical system of organized religion. Paradoxically, an icon is such only within a hierarchy, occupying an elevated position. Therefore by becoming who he became, Marley became that which he was against, but could only achieve his goal through such a becoming” (Deeksha Nath, “Shibu Natesan – Reading the Contemporary Moment”, Voices of Change: 20 Indian Artists, The Marg Foundation, Mumbai, 2010, p. 193).

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