Architecture and feeling
‘The Frame’ recently held an exhibition of works at the Academy of Fine Arts by its seven members, all of whom are given to experimentation of one kind or another. Bhaskar Bhattacharjee uses brilliant colours adaptable to egg tempera, and fuses folk styles into pure surrealistic forms. Kumud Ranjan Halder, on the other hand, derives his structural imagery from various aspects of the newly sprung-up buildings in the city. He expresses both the happy and sad feelings generated by the squarish shapes of such architectures. Pran Gopal Ghosh tends to cull his artistic materials from the unending flow of life. Soumitra Kar draws on the medieval Mangal Kavyas, mingling his visuals with those of cave paintings and murals, while Susanta Mandal maintains monochromatic schemes by allowing a dramatic play of light and shade.
Madhura presented dance-drama Rasa Bichitra at their annual programme at Birla Academy on May 29. Directed by Biswajit Gupta, this innovative composition reflected various emotions or rasas of the human mind through dance and drama. Selected portions of Grihaprabesh, Sheshraksha, Kabuliwala, Shyama and Tasher Desh were chosen. Joyeeta Samaddar as Shyama did justice to the character through her graceful movements while the innocence of Uttiyo was revealed in Simontini Gupta’s spontaneous expression. The truly delightful part of the group dances were refreshingly tuneful and well-synchronised voices. Controlled nuances brought out the hidden drama. The soulful rendition of Sreashi Mitra touched the right chord.
Sharmila Basu Thakur
In yet another display of experimental works by the members of Horah Paints at the Academy of Fine Arts, discriminating viewers got a chance to savour new idioms. Amit Nayek’s Vase (water colour) contrasted as well as complemented Tapas Mondal’s Sun Flowers (oil monotype). Saptarshi Das’s acrylic work, Protect Me From D’art bears some family resemblance to Ranajit Gharai’s acrylic-and-silk-screen creation When U R A Consumer Product, except that the latter is an offshoot of modern day advertising visuals. Apu Along (wood carving) is an impressive narrative-like piece by Sailesh Mitra. Last but not least, Anasuya Majumdar closely follows the time-honoured tradition of linearity of Bengal art, her sensitive work in earth colour titled Goddess being visually eloquent.