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Bold human and animal forms inscribed with a continuous, even calligraphy and Par paintings in intrepid tones form the essence of Rameshwar Singh's works. Singh experiments with figures, forms and mythology to give his oils a sense of antiquity which he feels is fast disappearing from contemporary art. This traditional look is acheived with the help of quaint jharokhas, archaic lamps casting somber gloom, smudged mantras and bold motifs.
"Art," feels Singh, "has become so advanced that it is not for the common man any more." So Singh goes back to using symbols and characters which are inherent to our culture and tradition, and a part of the common man's life. So in the four Faces series of paintings the human faces are imprinted with small traditional patterns in the form of tattoos, which is still prevalent among the tribals in India.
Employing the use of the tattoo form along with the technique of Par painting results in the oils relating a tale within a tale. Thus a lover eagerly awaiting his ladylovefinds that she comes in the form of a bird in `Birds Lover'. While animals are shown in the form of horses, birds appear as parrots. And to identify the parrots with the female species, Singh has shown them as having busts. The recurrent use of animals and birds also includes a message. For, Singh believes in the conservation of animals and believes that people have become extremely insensitive towards the environment in general. "As a man curses and hits a donkey for not walking fast, who knows what the donkey is thinking? Do we ever think of them or from their point of view?" asks Singh.
He even assimilates the art of Par painting with miniature paintings while drawing on the body to relate a mythological tale. The story is recounted sometimes in a linear pattern, as seen in most South Indian temples, or in a circular fashion. To give the paintings an embossed look, Singh also uses the technique of collage. He paints these miniatures on a separate canvas, burns their edges to give them an ancient look,and then sticks it over the original painting. Shading and painting it all over again so that it looks like a part of the whole. Processions and weddings, cowherds, battlefields and court scenes all relate a story.
The influence of Rajasthan emerges through the colour schemes and visions like women playing chaupad. Amusement brings forth the power of music that has animals and human beings surrounding an old gramophone. Musings and reflections of the artist take on the form of religious scriptures when written in Mevadi language, which is spoken in Rajasthan. At times they recount a tale, reflect the figures' -- human, animal or bird -- feelings or take on the form of a song. "Anything that comes to my mind finds its way on the canvas. I sit and wonder what he/she might be feeling or thinking," says Singh. Here his creativity takes on the form of writing, and we have an huge colourful, illustrated story book right in front of us.
Till March 4, 1999, at Son-et-lumiere, Jehangir Villa, Wodehouse Road,Colaba. And group show at Jamaat, National House, Tulloch Road, Apollo Bunder till March 9, 1999.
Copyright © 1999 Indian Express Newspapers (Bombay) Ltd.
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