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Lot 80

 

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"When he dissolves and re-concretizes the motif, Ram Kumar does not simply replicate the visible; we respond to his meditative frames precisely because they have moved from the perceptual to the conceptual, from semblance to structure. He does not mirror reality, but subjects it to prismatic analysis: his topography, for instance, is a diagram of forces in a field rather than a picturesque post-card view; each city, each trapfall is a summation... "When he dissolves and re-concretizes the motif, Ram Kumar does not simply replicate the visible; we respond to his meditative frames precisely because they have moved from the perceptual to the conceptual, from semblance to structure. He does not mirror reality, but subjects it to prismatic analysis: his topography, for instance, is a diagram of forces in a field rather than a picturesque post-card view; each city, each trapfall is a summation of views from various angles, arranged on the same plane for the discernment of the viewer. Ram Kumar translates the landscape, often, into a surveyor's table of notations, of contour lines, benchmarks and pressure graphs."

"The key to the picture is its solution to the problem of representing movement: Ram Kumar neither suggests implied action nor a blurred impression of movement, but demonstrates the drift and flux of the universe by a procession of collapses and seizures, through an off balance spin that is established in the stresses and strains of the structure itself" (Ranjit Hoskote, "The Poet of the Visionary Landscape", Ram Kumar: A Journey Within, Vadehra Art Gallery, New Delhi, 1996, p. 38-39).

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