2007年3月5日

艺术评论 - 苏曼 and 苏哈斯·罗伊(Suhas Roy)

(由Nalini S Malaviya撰写)
Suhas and 苏曼 Roy, the father and son duo present their recent collection of works –视觉享受丰富多彩的混合泳。当他们在城市短暂停留时,我们将讨论他们的艺术等等。

苏曼’基督是慈悲,受苦和尊严的象征– done on canvas and acrylic sheets the results are stunning. What is surprising is that 苏曼’s tryst with painting has been an intermittent affair, despite which his grip on different mediums is remarkable. 苏曼 Roy returned to painting after a gap of several years. In the interim period cars, computers and books occupied his mind. Meanwhile, he saw the film ‘基督的受难’这对他影响很大,以至于他用一系列基督人物打断了他的寄居。电影中的暴力和流血事件使他不得不在画布上翻译它们。压克力板(一种难以使用的介质)上的画尤其令人震惊。
Image courtesy 苏曼 RoyComparisons between father and son are inevitable, but 苏曼 is quick to point out that he has consciously avoided being influenced by 苏哈斯·罗伊(Suhas Roy) – the teacher. 苏曼’早期的作品是山地克尼克(Shanthiniketan)宁静的环境启发下的山水画,随后是部落的作品。然后是一系列面具的作品,这是他广泛旅行的结果,最后,现在的作品是关于基督的– a much in demand series. With barely contained excitement 苏曼 announces that one of his paintings – a small one, as a matter of fact, has fetched 15 lakhs at a recently held auction, outdoing some of the senior artists. 苏曼 Roy believes he has finally established his own identity.

On the other hand, 苏哈斯·罗伊(Suhas Roy) has been doing his ‘Radha’自1979年以来,该系列大受欢迎。他以创造精美的女性面孔而闻名– romanticized portraits that are beautiful, sensuous and elegant. Conventional faces and forms acquire a rare quality in 苏哈斯·罗伊(Suhas Roy)’的手,幻想的空气或梦幻般的气质弥漫在他的作品中。在本次展览中,除了使用不同媒介的女性面孔外,还有一幅男人的画,一张拿着玫瑰的纳瓦布,这在以女性为主题的画家中是罕见的。
Image courtesy 苏哈斯·罗伊(Suhas Roy)苏哈斯·罗伊(Suhas Roy)’蜡笔,木炭和油画颜料等各种媒介的技艺同样具有传奇色彩。他说,美丽激励着他,无论是花朵,女人还是山脉…他现在正在研究的另一个系列是《午夜雨》,其中包括画布上的大油。罗伊(Roy)资深人士相信创作的作品将世世代代地延续并受到人们的赞赏。从他年轻的时候起,艺术界就发生了很大变化,他建议,“艺术在变化,这是一个数字时代,但我们不应该忘记我们的印度血统。土壤决定着一个人的思想或哲学方式,我们应该记住这一点。”

在印度艺术品市场的蓬勃发展中,他说:“在印度艺术界大肆宣传之后,年轻的艺术家们不再挣扎,时代已经改变,态度也有所改变,但应该保持质量。”这听起来像是很好的建议,从长远来看,应该有助于维持艺术品市场的活跃性。

展览将于3月7日在班加罗尔The Hatworks Boulevard举行。

(在班加罗尔TOI出版)

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