Ambadas (1922–2012) was a pioneering Indian abstract artist whose works transcended form, subject, and ideology, capturing the raw essence of creation. Known for his deep connection to the energy of nature and the spontaneity of artistic expression, Ambadas’s paintings resonate with a timeless and universal truth. In this reflective essay, artist Akhilesh pays tribute to Ambadas, exploring his unique artistic process and the silent voices that emerge from his canvases. Akhilesh delves into the hesitancy, energy, and humanity that define Ambadas’s work, celebrating it as a pure, unbound creation—one that exists beyond language and ideology, much like the primal art of early humans.
Art, whether classical, academic, traditional, or mythological, is bound by dual understanding. It reduces the subject and object to a myth.
– Ambadas
“How can one write about paintings, about Ambadas’s paintings?” This is what Swaminathan wrote almost nineteen years ago for Ambadas’s exhibition in Delhi. Swaminathan’s dilemma was twofold: on the one hand, he wanted to talk about his friend’s paintings, and on the other, he found it difficult to write about the painting itself. But in this hesitation, Swaminathan inadvertently pointed out that Ambadas’s paintings are the paintings. They are not merely creations of Ambadas. They are creations of humanity. The simplicity, beauty, and nature of these paintings attract others. These paintings are natural and simple.
The paintings are so full of creative energy that an innate attraction radiates from them. The form of these paintings is revealed right there; to search beyond it would be like pushing a rock uphill with elbows. These paintings, with their truth—the truth of being human—reach out to humanity.
Many things can be said about these paintings. But I would choose only to speak of the experience. In Swaminathan’s heart, Ambadas exists as a unique human being. Perhaps no other artist-friend tried to understand Ambadas as deeply as Swaminathan did. Their friendship was profound. The reason for this depth was, on one hand, Ambadas’s hesitation about his own humanity and, on the other, Swaminathan’s painful awareness of his human condition. Thus, perhaps, both remained complementary to one another. This human hesitation in Ambadas is the creator of his artistic life. This hesitation of experience seems to wander on the canvas as well. It has no definite goal. It has no structure. It just exists, like wandering sperm searching for an egg.
Jehangir Nicholson Art Foundation
Ambadas’s paintings are paintings of hesitation. They hold the same hesitation that is hidden in nature. Swaminathan called Ambadas’s paintings “silent voices of freedom.” These silent voices of freedom can be continuously heard around us in nature. These voices are not part of the noise that, expressing itself in ego, is turning into the I-I cacophony. This is the voice whose existence is not heard but seen. In this nature, we cannot hear our existence, but we can see it. Ambadas’s paintings are part of these silent voices. The wandering voices of sperm create a faint crack in the universe. Ambadas’s presence reminds us of the presence of humanity that also existed in the caves of Bhimbetka. While making these paintings, Ambadas may not have had anything in his mind, just as the primitive humans painting in caves might have had nothing in theirs. Here, there is only creation. The beauty of the moment of creation. The frenzy of the moment of creation. Just that. No imagined expression. No burden of history. Just creation and creation alone.
This is something that can be academically rejected. Can anything really be created from nothing? Generally, every creation is centered on an idea, and this illusion has not been seen as humanity’s weakness until now. It can be called the irony of the 20th century that it could not look beyond cause and effect. Ambadas does not bind his artwork to any ideology; instead, he separates it from subject and object. He experiences the moment of its existence. This realisation is what sets Ambadas apart from his contemporary painters. Even when we say that Ambadas’s paintings are “paintings of hesitation,” we are placing them into such a concept.
Jehangir Nicholson Art Foundation
The existence of Ambadas is the existence of his paintings. It can also be seen this way: the existence of the universe is the existence of these paintings. The energy of these paintings is the presence of energy in the universe. Their lack of a beginning and an end is the experience of these paintings.
This may seem unnecessary—that I am comparing these paintings to the universe—but I would like to mention a conversation: during those days, Ambadas was a guest artist at Bharat Bhavan. He was continuously painting, and it was my responsibility to provide him with the necessary materials. Observing his creative process, which is extremely long and highly intricate, I was both amazed and learning. Before starting to paint, Ambadas would meticulously arrange all the materials in the studio like a warrior, which could take two days. Without distraction, at the beginning of this seemingly endless process, Ambadas would spread the canvas on the floor and keep looking at it as if a child gazes in wonder at the sky. He would look at it like a space, with no beginning or end.
Gallery Art.Motif
In this preparation, Ambadas’s next crucial step was to prepare colours, which he would grind and mix for a long time. This preparation seemed like throwing colours into the universe. Then, like a swordsman, he would attack this space with his brush—an attack of colours. He would engage in a battle where the subject and object were himself.
One evening during those days, in my ignorance, I asked Ambadas which form of nature he considered the basis of his paintings. “Germination,” Ambadas immediately replied. “When a sprout breaks through the earth, I base my paintings on the infinite energy of that moment.”
For Ambadas, seeing this energy is the source of inspiration. In Ambadas’s own words: “Art for me is being and performing. A spontaneous connection, a seduction, and being absorbed in it. To be with it and like it. All of it is on the canvas but only as a celebration of energy.” A warrior does not commit murders in his war; he gives birth—to an artwork. If we borrow Ambadas’s celebration of energy, then Ambadas’s paintings are “celebrations of condensed energy.” The explosion of this energy does not lead to human death; it forms human values. These values belong to no race or ideology. These values are the values of being human.
To speak of these paintings as an expert is, in fact, to distance oneself from them. These paintings exist beyond any definition. They can be felt more than seen. Like we feel coolness in the air and warmth in the sunlight, or warmth in the air and coolness in the sunlight. This feeling is unbound. It is like the experiences we live but do not express. As Udayan Vajpeyi said, “These paintings are puzzles for language.” A puzzle that does not need to be solved, as it is already known before being understood. It is a solved puzzle. A puzzle of experience, feeling, and the awareness of one’s being. These paintings are entirely paintings. Just paintings. Entirely silent voices. To listen to them is to listen to one’s voice. To listen to God’s voice.
Feature Image: Ambadas | Abstract artist & founder member of Group 1890 | DAG
Excerpt from the Book ‘Unke Baare Me‘ by Akhilesh. Original text in Hindi translated into English.
Born in 1956, is an artist, curator and writer. He has gained worldwide recognition and appreciation for his works through extensive participation in numerable exhibitions, shows, camps and other activities.
