A new exhibition called “The Love Songs of Errantry” has been opened by Art Incept at Bikaner House, Delhi. The exhibition seeks to present artworks that play a crucial role in deepening our intellectual grasp of reality, prompting us to reflect on those aspects that often escape us in our daily lives, overshadowed by the illusory nature of the material world. Both artists, Brojeshwar Mondal and Parul Sharma demonstrate their deep and inspiring bond with nature through their remarkable works. Mondal’s artwork skillfully captures the intimate bond between creative expression and geographical surroundings, while Sharma’s artistic creations elegantly showcase her deep connection with the natural environment. I frequently find myself immersed in contemplation, delving into the profound sentiments one must undoubtedly encounter when traversing enchanting urban landscapes and breathtaking natural marvels from a psychological perspective. It is truly remarkable how these artists have masterfully depicted the sheer beauty of this extraordinary journey. Brojeswer Mondal, born in 1994 in Siliguri, West Bengal, explores the lingering traces of nature that go unnoticed by most but possess a profound beauty awaiting discovery. Nature’s essence is immortalized, captured on paper through watercolours, acrylics, aerosol sprays, ink, and pigments, where they often wander freely, embraced by a boundless white expanse.
Brojeshwar’s dot techniques produce mesmerizing abstract imagery that seamlessly blends with the portrayal of geographic impressions, where certain topographical landscapes have been beautifully simplified. Brojeshwar highlights the innate beauty of the environment, the overlooked details, and the humble objects that transform into an immersive experience, transcending mere intellectual contemplation. His works have several layers that deal with the relationship of flora and fauna in enhanced layers of textures. The artist invites us to delve into his carefully curated memories of the enchanting, often unnoticed wonders of nature. Within his majestic world(s), we discover the breathtaking outlines of mountains and trees unveiled by a sudden eruption of luminosity in the nocturnal heavens, the transitory hues and mirrored images of a swiftly coursing river, the perpetually shifting sandbars of rivers inundated by rain, and the moisture that delicately gathers on a blade of grass, on the verge of vanishing into the saturated earth beneath.
These compositions beckon the observer to immerse themselves, escape the ordinary and wander through the artist’s visual recollections… to surrender to the allure of transitioning from one abstract shape to another, delicately tiptoeing along intricate lines and glistening droplets, to immerse oneself in a cascade of vibrant hues, pausing occasionally to recall faintly familiar allusions and endeavour to grasp at the edges of the significance that the artist scatters throughout the composition, only to discover that they slip from our grasp like grains of sand when we emerge from their mesmerizing world(s). The deep-rooted longing to uncover patterns and discover meaning beckons us to delve deeper into the fascinating realms of his creations, captivating our attention and compelling us to explore even further. It is a seductive call that beckons us to embark on a quest for the untainted beauty of nature.
Parul delves deep into the world of the urban blues, skillfully examining her profound connection with the bustling metropolis she calls home. Her quest to find her true self in the city’s architecture is something that fascinates me in her work. Her continuous process of juxtaposing with lines creates an illusion of a cityscape without actually embedding it into her works. Her compositions portray crowded cityscapes and vibrant, bustling human energy. She skillfully captured the essence of the city, with its partially constructed buildings, scattered greenery, hazy skyline, and stark indications of the social and economic inequalities that defined her era. For her, architecture is a measure of the fragmented and conflicting worldview it frames. It encloses within it, the artist’s memories, fears, insecurities, and ever-increasing resentment towards moral and social codes of her time.
In Sharma’s current body of work, the eye saunters into the compositions with no sense of urgency. Casually tracing the contours of ethereal shapes, deftly navigating the stark lines that divide the space into walls, a floor, a roof, doors, and windows, it ventures closer to examine the play of light and dark within the lattice window. Much to its astonishment, it discovers a life in desperate turmoil, pinned to the very floor it stands upon. The erratic beating of its heart is the only sound in the space. The pinned wings, upon realizing the presence of an examiner, renew their efforts to free themselves.
The artist doesn’t provide an easy way to escape her compositions. To liberate oneself from the cacophony and disorderly existence, it is imperative to skillfully manoeuvre through the treacherous landscape of narrow gaps and bends. It is essential that we exert ourselves to break free from the constraints imposed by the lattice windows, navigate through the darkness with determination, and relentlessly strive until we finally achieve our emancipation. By scaling the walls with unyielding determination and seizing the intangible threads of the wind or a passing cloud, we can genuinely surpass the confines of the human spirit. Only then can we leave behind the suffocating atmosphere of the cosmopolitan city and its oppressive regulations.
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