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Lot 22

 

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"Right from the beginning, Bawa has based his aesthetic concerns on what he thought was universal in visual art and so has steadfastly adhered to his own pictorial archetypes. In the process, he has continuously embellished and redesigned his figurative images as part of a quintessentially Indian tradition, unburdened by any compulsions of being taken for an 'Indian' artist. In the surface appearance, his thematic (but seldom narrative)... "Right from the beginning, Bawa has based his aesthetic concerns on what he thought was universal in visual art and so has steadfastly adhered to his own pictorial archetypes. In the process, he has continuously embellished and redesigned his figurative images as part of a quintessentially Indian tradition, unburdened by any compulsions of being taken for an 'Indian' artist. In the surface appearance, his thematic (but seldom narrative) figurations look Indian, if only because they are replete with Indian myths that are pregnant with artistic possibilities… Interestingly, Bawa is given to a minimalist approach as far as he does not believe in either a textured background or a conventionally dictated spatial perspective, while at the same time he shows no reservations about the use of chiaroscuro in highlighting aspects of his meticulously crafted configurations" (Samir Dasgupta, "Reconfirming the Role of Linearity", Manjit Bawa Recent Works, Sakshi Gallery and Sama'a exhibition catalogue, 2004, not paginated).

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