Details of Chandra Bhattacharjee

From: Subject: Details of Chandra Bhattacharjee Date: Thu, 1 Jan 1998 02:35:29 +0530 MIME-Version: 1.0 Content-Type: multipart/related; type="text/html"; boundary="----=_NextPart_000_0042_01BD165D.EC83C470" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2900.2869 This is a multi-part message in MIME format. ------=_NextPart_000_0042_01BD165D.EC83C470 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: http://www.saffronart.com/moreinfo.asp?moreid=1&ArtistId=220 Details of Chandra Bhattacharjee

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Chandra = Bhattacharjee

Artist=20 Interview

How would you = describe the=20 start of your career as a painter? Any = comments on=20 the choice of your subject?
As a = child, in=20 a village called Patuli in Bardhaman, = (West=20 Bengal) I would often dabble with clay to = make=20 tiny images, with paper to make kites or = even=20 little bags. That's probably going right = back to=20 the very beginning of my 'career' as an = artist. In=20 the more conventional sense, I guess it = began when=20 I came to Kolkata to study art in the = Indian=20 College of Art and Draughtsmanship. I had = after=20 completing my 12th grade, enrolled for = commerce=20 classes in a college in Nabadwip. However, = I left=20 it midway when I realised that I wanted to = be an=20 artist. Once in Kolkata, I was on my own = and more=20 importantly had to support myself besides=20 attending my art classes. So it was as a = hoarding=20 painter that I plunged into the world of = synthetic=20 enamel and linseed oil, brushes and=20 larger-than-life figures. Simultaneously, = I was=20 also doing night classes in art.
So by = day, I=20 was standing high on scaffoldings under a = cruel=20 sky and by night I was focused on my = canvases in a=20 cramped corridor, which I shared, with my = fellow=20 hoarding painters. Finally the space got = seriously=20 cramped and I decided to take a shot at = the Lalit=20 Kala studios in Kolkata. However, my job = prevented=20 me from being regular, so I had to leave = that as=20 well. Finally, I rented a small flat, = where I had=20 my own space and was my own boss, at least = in that=20 limited sphere. There I worked for my = first=20 exhibition, a group show at the Academy of = Fine=20 Arts, in 1992. This was my debut in the = world of=20 professional art. Meanwhile, I had won = respite=20 from billboards and scaffoldings by = getting a job=20 as a graphic designer with The Economic = Times,=20 (which I left a few months back. Now I'm a = full-time artist). My life had become a = stressful=20 affair with work on one hand and art on = the other.=20 In a desperate quest for some breathing = space I=20 would escape into the heartland of West = Bengal=20 three or four times a year. In the tribal = entrails=20 of the state, where the Santhals lived, my = soul=20 inhaled the fresh rural air. Incidentally, = I also=20 got to closely study the rugged Santhals, = who=20 mainly worked as stone crushers, their = earthen=20 homes, the paintings on their walls, the = earth=20 colors, I imbibed the intimate feel of the = earth.=20 The smooth and glistening black bodies of = those=20 heroic men and women, who worked as hard = as they=20 played made a deep impact on me and = immediately,=20 naturally became my subjects. Initially, I = would=20 depict them on my canvas as they were, in = an=20 identifiably rural milieu, with dashes of = my=20 imagination. However, over time these = sturdy=20 figures have morphed and have become more=20 universal, less rural, while retaining the = qualities of power, forbearance, stoicism = and an=20 iron will not to be done in by adverse=20 circumstances, which attracted me to the = tribal=20 psyche in the first place.

You = are=20 essentially a figurative artist but the = ways the=20 figures are placed do not seem so simple = and=20 direct. Like your paintings reveal = and/hide a=20 story. Could you elaborate on your thought = process=20 while executing your paintings? =
For me=20 space itself is an endless subject, the = totality=20 of space. Mostly I do not feel the need to = manacle=20 the acres of vast tracts with a horizon, a = tree or=20 an object to suggest the circumference. I = don't=20 want to give my place a name because it's=20 everywhere. It's going against my grain to = impose=20 limits on myself, and by extension to my = subjects=20 or their habitat. My canvas is therefore a = reflection of my own and my subjects' = continuous=20 craving to look ahead, rise against odds, = not to=20 be hemmed in. You'll notice that most of = my=20 characters aren't looking directly at the = viewers.=20 Often they have their back to them. This = should=20 not be misunderstood as a negative = vibration. They=20 are actually looking far ahead beyond = anything=20 that can be physically painted but instead = can be=20 implied by the ruse of suggestion. The = rugged=20 earth, the falling leaves and flowers are = symbols=20 of a temporal world amid which my figures = and=20 their far-reaching yearnings are = constants.
My=20 canvases are often the setting for the = drama of=20 human relationships, which may or may not = have=20 societal approval. I try to project this=20 frequently unbearable tension by the = positioning=20 of my figures, use of light and the = division of=20 the space at my disposal. Often there may = be just=20 one figure on the canvas - but he/she is = actually=20 driven by a second character, not = physically=20 present on the main stage, that is my = canvas, but=20 there somewhere in the wings. This = unspoken but=20 what is referred to as 'palpable' tension = is a=20 situation, which is extremely absorbing as = far as=20 I'm concerned.

Your medium is = academic=20 as you mostly use oil on canvas... have = your ever=20 experimented with different media,=20 where/when?
There's an acute = misconception=20 here. For some reason, everyone seems to = think=20 that my medium is oil. I would like to=20 unequivocally state that it is NOT. I may = have=20 used oil as a medium for a sum total of = one year=20 in the entire span of my career as an = artist but=20 the works by which most people know me now = are=20 done with acrylic. More accurately, it's = mixed=20 media and involves conte charcoal and dry = pastel=20 besides acrylic. In fact, my technique of = applying=20 color is the fruit of many years of=20 experimentation and is by no means = something,=20 which I was taught by anyone in art = school. I like=20 acrylic because it helps me give the = solid-weave=20 tight-knit texture to my paintings and for = its=20 subdued matte look. It's a flexible = medium.=20

How do you feel art in Kolkata = differs=20 from other regions and how do you feel = that your=20 work is different?
You are looking = for a=20 generalisation and like all = generalisations this=20 is both right and wrong, if you know what = I mean.=20 So here goes: The identity of a creative = person,=20 whether a painter, musician or author, is = akin to=20 where he belongs and his roots. So the = abundance=20 of green in Bengal's landscape, the moist = air, the=20 fertile earth, all these are factored into = the=20 artist's self and often find expression on = his/her=20 canvas. Bengal's artists also prefer = figure-based=20 compositions to abstractions and have an = extremely=20 solid grounding in figure drawing. The = really=20 serious artists marry tradition with=20 experimentation without compromising = either.=20
Coming to the second part of your = question -=20 leaving aside the blind copyists, I feel = every=20 serious painter has his/her own = convictions and=20 individual style. Regarding myself, I feel = that=20 the texture of my works, the dark, muted = shades I=20 use stand out. My themes and characters = also=20 belong to a world which is very much my = own and=20 very different from anyone else's. The = rest is for=20 people to judge and understand. =

Could=20 you describe the changes you have = undergone from=20 the start of your career?
Plenty - = both=20 with regard to content and style. Earlier, = I used=20 lots of pastel and pen and ink to achieve = the kind=20 of texture I was looking for. I have = graduated=20 after much and trial and error to my = current=20 style, which involves conte, dry pastel = and=20 acrylic. At one point of my career I had = also=20 painted near-photo-realistic figures in=20 recognisable circumstances, both rural and = urban.=20 I feel that I've travelled far away from = that. Now=20 my figures are universal and can exist = comfortably=20 anywhere and at anytime. I like to call = them=20 Everyman and Everywoman. It's more their=20 innerscape being reflected on their faces = and=20 attitudes rather than the external = postures for=20 the sake of externalities. And the = feelings of=20 those who people my canvases are not = limited to a=20 particular space or race.

The = figures=20 in your painting seem to have a strong=20 individuality. Who are the models and = subjects in=20 your paintings? Could you also describe = the=20 technical process of your work.
I = think=20 I've answered the first part of the = question=20 already. I do not have any definite = model/models.=20 The tribals and santhals, who were my = models in my=20 art scroll/hoarding painting days have now = transfigured into an imaginary figure with = several=20 definite traits - he/she is strong, = no-nonsence=20 and resilient and refuses to be defeated = by=20 circumstances and can look ahead and = beyond the=20 present milieu or dilemma. Their mental = strength=20 is reflected in their physical stature and = once=20 again to depict that I have borrowed = heavily from=20 the muscular, dark-complexioned, lean, = rugged,=20 big-boned looks of the tribals, who are my = civilised savages.
As for my = technique, I use=20 conte charcoal to make the basic line = drawing and=20 then I cover the canvas with a layer of = dry pastel=20 and water. After that I apply the several = layers=20 of extremely diluted acrylic paint. The = dry pastel=20 absorbs the superficial gloss of the = acrylic and=20 the effect is matte and well-knit.=20

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