Suprakash Nath

Seemingly disconnected objects that float in a neutral environment form an integral part of your work. Can you tell us more about this exploration of space?

It’s an effort to show a different existence of an object, hiding its own originality within the real and known environment. Here, all things are floating, which is not possible in reality. Presently, our urban society, our culture, man to man...

Seemingly disconnected objects that float in a neutral environment form an integral part of your work. Can you tell us more about this exploration of space?

It’s an effort to show a different existence of an object, hiding its own originality within the real and known environment. Here, all things are floating, which is not possible in reality. Presently, our urban society, our culture, man to man relationships are frequently changing. It seems like an artificial transformation of the whole of civilization. We’re getting more object-centric day by day, and as a result, beauty, relationships, etiquette, everything is getting adapted synthetically. The distance between every person is gradually increasing. Every person in this world is getting affected by loneliness and disconnected with his own soil, slowly.

In my work, I’ve shown supernatural forms of known objects artificially, and tried to hide their real form (appearance). The floating object has been presented to show the real bonding of such relationships now-a-days. I’ve tried to catch the dominating features of stronger ones by keeping big and small objects side by side. White backgrounds have been spread over as a symbol of loneliness and the faded life span of human beings.

What is the message that you want to convey to the viewer through these surreal landscapes?

Against white and faded backgrounds, rather than in a field, I’ve kept my various tensions side by side, like surreal landscapes. Different types of drama are going on always. However, I’m trying to maintain a dramatic amusement in my all works; a sense of performance.

Your recent works seem both meticulous and spontaneous. Can you tell us a little about your creative process, and how it has evolved over the years?

My psychology, my uplift, my environment, my culture, and my likes or dislikes, my habits, all these help my work spontaneously.

We always try to control emotions and feelings in our everyday life. So, in my work, to maintain this condition, I use water colour. I never allow the colour spread all around according to its own character. Even if it spreads, I put the same in proper order or in good arrangement. I’ve given artificial smart visual look over urban corporate everywhere. At present we’re victims of this situation.

A lot of the objects you paint bear an intricate checkered pattern? Where does the inspiration for this come from? Is there any particular significance to it?

I do use this checker pattern in my work again and again. Actually, this represents the contradictions between black and white or the contrast of good and bad/light and dark, side by side. Again I’ve used these patterns to make an optical illusion. Sometime it’s been used over some text or objects to hide their originality. At present, commodity culture is making people fools, with its so called super-real products. It means they are creating an illusion from outside about the product to make it important in front of the masses. In the same way, I’m using this pattern for the purpose of making illusions.

What are some of the projects you are currently working on? What does the future hold for Suprakash Nath?

At present, more or less, I use paper, watercolour, ink and pencil as medium, but acrylic and canvas have also been used in my work. I’ve been thinking of installation and electronic media to be included in my work in the near future. And in the course of thinking about the route of my work, I’m trying to keep a positive outlook always. Now-a-days the subject “Environment in balance” is striking my mind. I’m thinking of some project regarding this subject.