The 66th annual exhibition of the Society of Contemporary Artists at the Academy of Fine Arts featured 18 participants, including both young and mostly senior artists. Of the senior artists, Ganesh Haloi was immediately recognisable by the rhythmic music of his compositions. While it is surprising that he is still active, it would be great to see him break free. Instead of his Calcutta babus and bibis of yore, Lalu Prasad Shaw, for a change, presented a monochromatic mixed media monster of menacing incisors and girth. It is of the same high quality as some of his calligraphic graphics.
The elegant, headless and armless female figure by the sculptor, Niranjan Pradhan, echoed the beauty of Venus de Milo although this modern composition relied heavily on Cubism for its realisation. It is a sophisticated fibreglass lady. Aditya Basak had two canvases that were painted in his old, threadbare style. There was, however, a small black-and-white painting that seemed to break new ground (picture). The two figures looked somewhat human. The surroundings too seemed vaguely familiar. Yet they were not. It is a tentative effort but it seems to have potential. Basak has struck a new note and he should try to carry it forward, however risky that may be.
The looming darkness in David Malakar’s crepuscular painting hinted at an impending cataclysm. Malakar is a highly skilled young artist and he is expressive without being demonstratively so. The glowing radiance of Atanu Bhattacharya’s canvas is strikingly different from Saumen Khamrau’s serene tempera on board painting.
Pankaj Panwar’s two works struck a different note. While his drawing of an elderly man with a middle parting highlighted his skill, it was the fibreglass woman trapped behind a grille that made a statement about the subjugation of women in our society.
