Important Notice

Speaking about Ram Kumar's abstract landscapes, Ranjit Hoskote notes that "The world is at a slant in these paintings, askew, all slope. Everything seems about to change its form and nature: the soaring wedge of the mountain, the tumescent fork of the watershed, the streaming avalanche, the floodburst. Entropy, the long descent into nocturnal winter, reigns over this unruly climate; and yet spring, its indomitable opposite, refuses to be quelled... Speaking about Ram Kumar's abstract landscapes, Ranjit Hoskote notes that "The world is at a slant in these paintings, askew, all slope. Everything seems about to change its form and nature: the soaring wedge of the mountain, the tumescent fork of the watershed, the streaming avalanche, the floodburst. Entropy, the long descent into nocturnal winter, reigns over this unruly climate; and yet spring, its indomitable opposite, refuses to be quelled and explodes in tan and sienna, green and azure. Ram Kumar's paintings reiterate the Heraclitean dictum that all things are in flux: they resonate with the cadences of a universe that continually brings its precipitates to birth, only to subject them to decay, dissolving them in history's acid current" ("Parts of a World: Reflections on the Art of Ram Kumar", Ram Kumar: Recent Works, Saffronart and Pundole Art Gallery exhibition catalogue, 2002, p. 6, 7).

"Ram Kumar embodies the drift and flux of this Heraclitean universe in a structure hinged together from a succession of collapses and seizures, stresses and strains. In dissolving and re-concretising the motif, he subjects visible reality to prismatic analysis: his topography is a diagram of forces in a field rather than a picturesque post-card view; each city, each trapfall is a summation of views presented from various angles, arranged on the same plane for the discernment of the viewer. Ram Kumar's landscapes are orchestrated as a dynamic equilibrium of floating planes, triggered weights and directional vectors. We respond to these meditative frames precisely because they have moved from the perceptual to the conceptual, from semblance to structure" (Ibid., p. 7).

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