True to
his birthroots as a poor lad from the rural
hinterlands of Siraha in Eastern Nepal, Laxman
Shrestha could be described as a man who simply
oozes simplicity and this is reflected in his
exceedingly simple manner of speech. In addition, he
appears to have attained a high degree of equanimity
in the course of an eventful life dedicated to
artistic spirituality, and not much seems to ruffle
him. He handles reporters with ease and answers
their various queries (some as irritating as ‘Sir,
which colours affect you most?’ and some as
querulous as, ‘What is so special about this
picture?’) with an ever smiling face, a patient
mannerism and masterful élan. One really has to
admire Laxman Shrestha’s demeanour and more so,
because it definitely is not a put-on. For one who
has gained huge respect in international art circles
and could be said to be somewhat iconic in India,
the artist portrays admirable humility even while
stating simply that his works command exorbitant
prices and that he has a thousand and more on the
waiting list of those wanting to buy any new works
emanating from his nimble fingers.
Siddhartha Art Gallery and Infinity International
organized an exhibition of a collection of the
‘Sirahan’ artist’s works on 15th March although it
must be said that it was far from what anybody would
call, a ‘good’ collection. In fact, while the
organizers have to be at least thanked for putting
up a Laxman Shrestha display, seeing that it is a
rarity for the country, art lovers have to be
forgiven for wishing that it had consisted of more
than digital print copies and mostly unsigned early
paintings borrowed from a few private collectors of
Kathmandu. And even though the artist may say that
one has to have some knowledge about arts to
understand his works better, even he must agree that
the paintings displayed would be hard put to demand
the kind of enthusiastic response that his later
works have aroused. The digital prints were of a
recent collection in black and white from the series
titled ‘Elaborations’, on display at the Pundole Art
Gallery in Mumbai from 1st to 31st March. These
works, even if monochromatic, are attention grabbing
because of the artist’s expert use of tonal and
textural possibilities resulting in works in which
‘deep densities of paint, seemingly still wet,
alternate with passages of dry brush scumbling (?)
and lyrically free charcoal strokes’ (Ranjit Hoskote).
One can also get an idea of the worth of his works
from the worthy price tags of even digital prints of
his originals –Rs. 30,000 upwards. Laxman Shrestha
is undoubtedly an artist of the times - celebrated
as an bstractionist of distinction - and his works
have been subjected to descriptions ranging from
‘sublime’ to ‘soul searching’ which is expected of a
man who claims to have attained a measure of
spiritual bliss in his life. This bliss must also be
credited to his wife, Sunita, an artist herself and
it can be assumed, a most pleasant companion through
his long years of married life. Laxman Shrestha has
many, many admirers and one would like to hope that
he would use his high standing to further the cause
of Nepalese artists too in the now dynamic art world
of neighboring India. However, the much decorated
artist is candid in admitting that he is not much
upto organizing promotional events, or anything else
for that matter. His constant refrain is that he is
an artist first and foremost and a true one at that,
which can be taken to mean that he is above the
mundane things of life. At the same time, he does
offer his unstinted support for artists who approach
him for help of any kind.
Luminaries at Work
Singha
Art Gallery, in Patan Industrial Estate, organized a
meet of quite exceptional dimensions on the last two
days of March this year. The meet consisted of a
workshop which had as participants, some of the most
respected names in the art scene of Nepal. Uttam
Nepali was there, as was Shashi Shah. So also were
participating, Uma Shanker Shah, Madan Chitrakar,
Shashi Kala Tiwari and Shyam Lal Shrestha along with
Batsa Gopal Vaidya, KK Karmachrya, Vijay Thapa and
Krishna Manandhar. Other luminaries included IB
Malla, Nabindra Man Rajbhandari, Uttam Kharel,
Radheshyam Mulmi and Gyanmani.
Although said to be a workshop of senior artists, it
must be said that seniority alone cannot be said to
be the driving factor for the high quality works
resulting from the meet. All the artists present
have been much acclaimed for their uncommon talents
and perhaps, the importance given to the word,
‘seniority’, has to be gradually diminished in the
art world as it has to be in all other sectors in
the country (including politics). It is good to
observe that the resultant works from the workshop
had quite a bit of vitality, which even if not
thoroughly, then at least to a great degree, belied
the fact that the works were that of ‘senior’, and
as is normally assumed, driven–by–the-past, artists.
Madan Chitrakar, in the spirit if things, pointed
out in his speech that what was needed of artists
was a progression with the times, which
unfortunately was not a universal reality in the
country. He himself appeared to be delighted with
his two canvases as he rightly deserved to be,
seeing that they represented good examples of just
what he was talking about. Depicting the beginning
of civilization through the symbolism of alphabets,
Chitrakar had taken recourse to soothing pastels and
gentle forms that made his works pleasing and
restful to the eyes. Uma Shanker Shah’s but even in
their dampness, the works in which much of crimson
had been used, obviously were indicative of the
Janakpur artist’s ponderings on the volatile
situation of the terai, a state of affairs
punctuated often, and with alarming frequency, by
rampant bloodshed. Uma Shanker is fond of saying
that artists are a highly intuitive breed and so, if
true, then we must be prepared for more of the
worst.
Most of the participating artists’ works were fairly
representative of their well nown styles and this
was as to be expected, since finishing paintings in
a short time of two days cannot be really rewarding
as far as more experimental creations are concerned.
Uttam Nepali took some pains to emphasize that the
organizers had started a new trend by giving
satisfactorily respectable emoluments to the artists
for their valued participation in the two day event,
and he hoped that artists participating in future
workshops elsewhere too could expect to be as
suitably, and respectably, reimbursed.
