Tactile imagination

Biman B. Das’ retrospective exhibition of metal, wood and stone sculptures at the Birla Academy reveals the inherent qualities of shape and form, surface tension and texture. The mix of frozen and gliding light and innumerable shadows points to inner and outer space within and without the work. He has the ability to balance the figurative form, man and woman alone together, seated or standing. They emanate their earthy humanity and divinity in the ever-expanding cosmos. Art critic Barnard Berenson described this type of intellectual expression as ‘tactile imagination’. Das’ drawings translate glyptic forms into linear lyrics.

Sandip Sarkar

Like a brushstroke

An exciting elocution recital by Ishita Das Adhikari was the most prominent feature of the 25th anniversary programme (October 26) of Upalabdhikatha, a poetry journal. A sparse Rabindra Sadan audience had an hour of listening pleasure from a youngster who is not merely an elocutionist with a crystal clear diction and strong conviction, but also a sensitive reader with an eye for women’s issues. With a pre-recorded musical track supporting her, Das Adhikari’s treatment of popular Tagore poems like Jhulan and Nirendranath Chakraborty’s cathartic Jangale ek unmadini were essayed in a fashion where each word uttered was akin to a deft brushstroke. As she hones her delivery, she needs to work on the dramatic elements of narrative poems like Debatar gras. The rest of the evening had routine music recitals and recitations, except for one surprise named Alokananda Bhattacharya.

Anshuman Bhowmick

Power of myth-making

Babu Namboodri K’s exhibition at the Birla Academy is rather intriguing. His very large to medium canvases cover muraleque wall space and are monumental in scope, but his water colours and ink drawings are small. His simple style and archaic content, sometimes verging on the primitive and child art, make a strong impact. He uses elements of myths embedded in dreams as well as everyday events and raises them to the level of fantasy. He recycles Kerala temple murals with pop art and gives them a post-modern twist. Through the power of myth-making and sense of spatial harmony Namboodri tries to send out fascinating visual messages. However, this is somewhat hampered by his faltering efforts in handling oils and feeble drawings.

SS