| Decadence and relevance. It’s about conflicts and contradictions. Duality intrigues me, surprises me, amuses me, and even disgusts me. But then I realize that everything has a dual nature. Even electrons, the particles at micro level, exhibit properties of particles and waves. Art, for me, is anything that attracts my attention, holds it, and engulfs me. It may be awkward or ugly for the majority of people, but this is what consumes my time by choice. It could be the red light at the traffic signal illuminating the unfinished flyover, ignored sides of a building with trash on its edges, puddles of mud, distant look in the eye of a street urchin. The paradoxical extremities of my city excite me and instill in me images of love, hate, passion, desire, reflection, neglect, and a myriad of diverse emotions. |  |
Bhanu Pratap Singh
Decadence and relevance. It’s about conflicts and contradictions. Duality intrigues me, surprises me, amuses me, and even disgusts me. But then I realize that everything has a dual nature. Even electrons, the particles at micro level, exhibit properties of particles and waves.
Art, for me, is anything that attracts my attention, holds it, and engulfs me. It may be awkward or ugly for the majority of people, but this is what consumes my time by choice. It could be the red light at the traffic signal illuminating the unfinished flyover, ignored sides of a building with trash on its edges, puddles of mud, distant look in the eye of a street urchin.
The paradoxical extremities of my city excite me and instill in me images of love, hate, passion, desire, reflection, neglect, and a myriad of diverse emotions. What is considered unimportant, unacceptable, mundane, makes up an important part of my work. Most of my paintings show dual character. They are just means unto themselves without any concept or narrative, such as the Rooftop series. There are paintings where people are juxtaposed with architectural structures, depicting the contrast and conflict through figures and architectural entities. The flexible, energetic figures superimpose the rigid structures of the buildings. The two entities don’t fall into the same category, yet they coexist, even though somewhat uncomfortably.
The events at large that surround us, our neighborhood, and the world affect me deeply. The propaganda paintings are a result of these afflictions in society. A painting called National Rape talks about the impotence of a common man when things important to him are being wronged, who seems to be in a state of denial. The conflict plays its game here, too. I almost hate using pretentious touch in my art, keeping it detached from the niceties and the superficialities. That’s my way of getting to the core of the matter, facing every facet that holds us from our fear. Every expression discarded by an ideal society or a so-called idealist is my subject.
Belonging to a conservative Hindu family and growing up in a nation that is growing with conflict and defensive play, sexuality came to the fore. I think the existing taboos in society shaped me, or perhaps they were just the catalyst. But as awareness and personal wisdom took over, I realized that I had to work through conflicts, and to conflict the true nature of things as well.
