The works of Tapas Konar and Partha Pratim Deb (below) at Aakriti gallery

The exhibition Folk in Modern, curated by art critic Mrinal Ghosh, now on at Aakriti gallery, has some fine works on display. They demonstrate the influence of traditions that sprang from the earth that farmers till and which were inspired by the simple joys and sorrows of people whose lives are still influenced by the rhythm of nature.

While some of the works were commissioned for this exhibition — such as the amazing mixed media works of K.G. Subramanyan, who uses a fresh pink and ochre — many of them have been around for some time. The bright Husain work, executed with bold lines, showing the three villages that constituted Calcutta, and Durga (as in Pather Panchali) wearing glasses, dates back to the city’s tercentenary celebrations.

The two Madhvi Parekhs, with their village deities, demons, shrines and strange beasts, too, have been seen before. But they were chosen because they fit Ghosh’s idea like a glove.

Toy-sellers are depicted in Manoj Datta’s tempera paintings in a naïve style. This is an example of a work by a contemporary artist with a more than passing resemblance to folk art. In the more interesting exhibits, such influence is more subtle.

Tapas Konar’s paintings belong to the latter variety. He presents a mother goddess (akin to Durga) with huge mammaries seated on a square stool, while plants in pots are being watered. In the second, a woman holds up a baby in a pose reminiscent of Ganeshjanani Durga. But he does not leave it at that. Konar builds up a complex personal mythology in which he weaves his fantasies.

Manjari Chakravarti’s works have a strong graphic quality, with their rectangles, chessboard, lattice work (used for window grilles) and rows of trees and faces, interspersed with silkscreen impressions of photographs.

Shreds of animal skin flecked with ink lines are carefully arranged in serried tiers inside rectangular boxes in both of the ever-inventive Partha Pratim Deb’s works.

Jogen Chowdhury and Paritosh Sen are there but volumes have already been written on them. Sanat Kar springs a surprise with his simple but witty painting of a bird chained to a perch, while a tomcat keeps guard.

The folk element comes out strong in both Satish Gujral and Haku Shah but an artist like Swapna Sen mostly paints in a style that can only be described as folk-inspired. She had once painted Howrah bridge that way. Her tempera paintings of fish being dried and Buddha with Hills display a harmony of colour and composition with a simple appeal.

Shakila’s mastery over the technique of making collages grows by the day. Both her works, depicting crows perching on pitchers filled with water and construction workers, are fine examples of her recent work.

However, all the works are not of the same quality. One would have liked to see the works of Sunayani Debi, Jamini Roy and Nandalal Bose here, but they were conspicuous by their absence.