Narayan Sinha completes 25 years as an artist. And, he is filled with mixed emotions. While there’s gratitude in his heart, there’s a new confidence with which he talks. He is content but not complacent. With the ongoing exhibition, titled ‘Intimita Personale’, curated by Sumesh Sharma and designed by Satyajit Dave, at Iram Art Gallery in Mumbai (on till August 1), he takes a step back and celebrates his journey. At the same time, he is looking forward to growing from the point that he calls his career’s zenith. He has been the most productive, exploring new mediums and revisiting old favourites. The raw and natural shapes and flow of his sculptures’ structures break hierarchy and bring to the fore an intimate and precious aspect of the artist, something he is proud of. A tete-a-tete with Sinha...
How did it feel when you realised you completed 25 years as an artist?
I was oblivious of the fact until my manager came up to me while we were setting up the exhibition at Iram Art Gallery and pointed out the landmark to me. I started my journey from Mumbai, and as I complete 25 years, it feels like a full circle. However, honestly, it didn’t feel like a very happy moment to me because I think I have done very little in these years. From a small town, Nalhati in Bengal, to Santiniketan, then Calcutta, then national and international, it’s a long journey, and a fulfilling one, but I wish I could have done more. The exposure was less, support was few but I’m much wiser than when I started.
Celebrazione series, a mix of aluminium, brass, copper, iron and paper
I think the most important aspect of life is the human journey as it’s very powerful. In a way, I also feel that I am in the best phase of my life; I have started to understand who Narayan is all about, what he wants, and how he works. From here on, I will be a new Narayan. The best version of Narayan has started.
The display at the gallery is extensive. There are more than 25 artworks, including sculptures and sketches, out there. Do you think you have been most productive at this stage of your career?
Yes. I worked hard, day and night, for over three-and-a-half months for it. To get to that point, to get that confidence, to understand your ease, to understand your language, your ability… it took me 25 years. Earlier, I was not that confident of pulling off a show of this magnitude within this time frame. It is very relevant in my life. After Firelight (Narayan’s 2021 exhibition in Calcutta at an abandoned old bungalow in Ballygunge, which featured 150 artworks), the international shows here and there, this is an important one. Also, it kind of follows Firelight.
Fusione in bronzo, 2025, weighing 380kg
The title of the show is Intimita Personale. What is intimate or precious to you, no society, no gender, no religion, no country, no one can dictate it. It belongs to you and you should be vocal about it. So, in the exhibition, you can see stones and gravel, all found objects which I picked up during a picnic with friends, as I wanted space to think about my art and not just about chasing a short deadline. I remember, my friends, though apathetic towards the start, at my act of collecting found objects, ended up doing the same and handed it over to me. I feel it is my duty, that if I see something precious, I should make the world see the beauty in it. That principle made me craft the show. It’s all about my interaction with people, with my body, with nature.
Fusione in Bronze series
The choice of materials at Intimita Personale is varied. You have different metals, stones and even sketches. Tell us about all these media and your interactions with them.
It’s a very important juncture where I felt that my vision should not be restricted to found objects only. My vision went far ahead than this and it is very important. I want to experience different genres and different ‘preciousness’ in my life. I felt like exploring new avenues. I love to do water colour, I love to do sketches, and sculptures, and these are the things that I started with, so there’s a sort of tribute to that in this exhibition. I have also traced my journey with other mediums like copper, wood, stone and others.
While mediums are aplenty, there is a beautiful synthesis of the mediums. What was your idea behind it?
I don’t believe in hierarchy. I believe in individuality, I believe in positivity, and I believe in togetherness. I respect each and every one. I have seen so much of hierarchy when I get into the materialistic structure. There are so many barriers. Through the various media and their synthesis, I am advocating for the neutralisation of hierarchy. And I am putting every piece on a platform where the base is an agricultural element. I have faced so much racism in so many ways…. So, this is my tribute to my existence, where I feel that I’m precious. I don’t believe in classism.
Rapporto, 2023 (against the wall), and Albero 2025, occupying center stage at Iram Art Gallery
When is the show coming to Calcutta?
I am not very sure about that, and I say that because though Calcutta gave me the platform and contributed to my journey but the city and its people never appreciated me in a larger way. I have had my supporters there, and common people have loved me, but it’s not as I expected it to be. I want to do so many things in the city, but Calcutta’s critical art community never appreciates me. I think we should embrace and support each other, otherwise, we are in a very deep crisis.
What’s next?
So, I am setting up my studio in Calcutta and I will come in a larger-than-life way.