Ambience of a momentary vision

Ambience of a momentary vision

BY ANANT ART · MARCH 1, 2017

Interview with Umesh PK

By Premjish Achari

Premjish Achari: Could you talk about your process? Maybe from the beginning, about how you conceive a work and the various stages involved in its execution.

Umesh P.K.: I spend most of my time in solitude, being in constant dialogue with my inner self. I have developed an intense interest towards visuals since my childhood and I used to withdraw myself from the noises of the outer world, and get involved in making drawings and paintings by sitting in a quiet place. Once we finish a painting or a drawing, we can come out and reconnect with the world in a totally different way. In that sense, in the very beginning itself, I got the opportunity to realise the power and potency of art to communicate very silently and peacefully to the world.

Umesh P.K.

Umesh P.K | Ship of Insane, 2014

I conceive each of my paintings as a visual device which can turn the spectator to look inwards in order to experience the dimensions of our inner realm. No efforts are involved in the making of these imageries. In the momentary lapse of reason, they reveal themselves to me like a sudden vision on the distant horizon of the mindscape and instantly make me free from the grasp of the pattern of mundane thoughts. Throughout the process of execution, I try to retain the ambience of that momentary vision.

Most of the times my paintings are a result of many improvisations; in such improvisations, I focus on the fundamentals of the visual. For instance, how to bring three-dimensionality to a sphere or the hotness to a flame of fire or wetness to a water body. This approach helps me to understand the dimension of reality in which the objects are turning to events. It is a way of knowing the flow of energy in all entities in the universe.

Umesh P.K.

Umesh P.K | Untitled (Archer), 2014

Premjish: There is an increased emphasis on the idea of history, memory and identity in your works. These works, in an imaginary way, try to recreate the role of history in the making of identities. Your paintings, drawings, sculptures, etc. supplant this aspect. Could you explain more about this?

Umesh: In my previous works, more specifically in my last solo show, entitled 'the excavated memories', my attempt was to create a visual account of an imaginary history by transforming the gallery space into a temporary museum-like space, and by doing so reminding the fundamental ethnographic questions such as who is representing whom?, for whose sake?, in which way and so on... the idea was to give a hint about how the hegemony is operating through different power centres in the course of constructing representations.

Umesh P.K.

Umesh P.K | Pages from a field guide, 2014

The development of various methodologies in ethnographic studies in order to produce more scientific and reliable accounts eventually brought us to a point where the notion of an objective reality, irrespective of the observer is being irreversibly aborted. We can see the shift of emphasis from reason to ethics in all intellectual discourses. It is at this historical juncture, I believe art and literature once again became more important as a mode of enquiry as well as an alternative way to produce parallel histories.

For me, the history is an example of disciplinary systems or institutions through which the representations are being constructed. As we live in an era of blurred genres I would like to extend my interest into other disciplines as well in my future endeavours... But my primary concern remains intact; it is to highlight the potency of art to rise above the structural limitations of language on which the foundations of all other intellectual disciplines are firmed. Language allows us one-at-a-time translation of the universe in terms of an abstract system. It is essential to function in an intelligent way in this world, but inadequate to capture the concrete reality of the universe in which things are happening altogether-at-once. Understanding in terms of linear thought, of words and concepts, is like trying to make out the features of a large room with no other light than a single bright ray. It is as complicated as trying to drink water with a fork instead of a cup.

Umesh P.K.

Umesh P.K | Relics from the past, 2015

Premjish: In the work "Let there be fire" one can experience a mythical past, some sort of origin myth. One can also see a grand vision of creation, an imagination which transcends time and space. Have Epics or religious texts played an influence on this particular aspect?

Umesh: Myths are entwined to the deepest structure of our being; they form the blue print of the psyche. In fact, we can find numerous examples of myths in epics and other religious texts, but I never draw imageries directly from any of them.

For the last few years, I have been reading and listening to the men of various mystic traditions from different parts of the globe. Instead of filling the mind their teachings are capable of emptying us. Here the mind refers to the part of the psyche which is continuously chattering, Buddhists call it as the monkey mind. Our experience of the linearity of time is a product of this self-perpetuating interior monologue, whereas in reality there is no such thing as an absolute time or an absolute space but a space-time continuum. If we are lucky enough, somewhere on the line of practice this monologue will cease momentarily and we will get a glance of the deeper layer of our psyche; the layer of collective unconsciousness. In such beautiful moments, we can go beyond the boundaries of our individual mind and directly access the source of archetypal imageries.

Umesh P.K.

Umesh P.K | Let there be fire, 2017

Write a topic
 

Recent Post

A Verdant Adulator

Born in 1989 Odisha, Laxmipriya Panigrahi grew up in pastoral pleasantry which is apparent in her art works. Panigrahi completed her Bachelors in Visual Arts, Painting from Balasore Art and Crafts College, Odisha in 2013

Read More

A Tête-à-Tête with Aisha Khalid

Aditi Ghildiyal: How will you describe how miniature as an art form has re-invented and re-defined itself in the contemporary times? Aisha Khalid: If we study the history of miniature paintings we would know that

Read More

Me Too Movement: What Next?

This article attempts to explore some of the key concerns raised during the movement and articulate it through the works and theoretical insights of important feminist artists and scholars.

Read More

An Ode to Nature

In today’s day and time human-nature interface has become an active subject of critical enquiry. Centuries of careless exploitation of natural resources has disrupted the inherent equilibrium of the multiple ecosystems existing in tandem..

Read More

An Unspoken Dialogue

The text mostly makes little to no sense if one tried to understand it. Though that does not become a deterrent in what Ghulam tries to communicate. By breaking the inherent grammar..

Read More

Time is a Rider

The art of our times encompasses a broad range of traditional and experimental media. Artists employ diverse vocabulary of abstract and representational forms to convey their message. We live in an age of excessive consumption of resources, energy and information ..

Read More

A True Shrine

This is artist Pratul Dash’s latest installation titled “Temple for Birds”. Merging effortlessly with the pristine idyllic landscape, the 16 feet high and 8 feet wide installation stands at the intersection ..

Read More

(De) constructing Identities

Birender Yadav's works put across strong visual annotations on identity, politics and class distinction in contemporary society, the plight and panorama of the working class.

Read More

HASHIYA: The New Protagonist

We all have been familiar with the Persian word hashiya. Either one understands it as kinara; kor in Hindi or mainly as a border

Read More

FEATURED: Artists with Anant Art - India Art Fair '17

Anant Art returned to India Art Fair this year with nine phenomenal artists

Read More

ART AND THE BODY: An observation about Malavika Rajnarayan's oeuvre

The human body has many riveting facets that have been experimented...

Read More

FEATURED: Top highlights at India Art Fair 2018

An annual jamboree that became an aperture to the colossal world of modern ...

Read More

Anant Artist's top picks at India Art Fair 17

At the fair's ninth edition, the country's largest and most successful art show...

Read More

Kochi Muziris Biennale 2016 | Art comes alive in India's first global biennial

A remarkable array of artworks that will enrapture even the most dispassionate...

Read More

From Aeronautics to Miniatures and everything in between

A trained GPL Pilot, Yasir Waqas has made the most peculiar jump from flying...

Read More

Start Your Own Fine Art Collection

The demonetisation crisis has left many perplexed and brought the economy...

Read More

From cinema boards and dog fights to radical contemporary art

Lahore based artist Muhammad Zeeshan has made a mark in the contemporary...

Read More

From Patron to Collector

The traditional patron always comes across as a selfless figure...

Read More

Indian Art Market 2017 - Forecast

After going through an extensive phase of economic recession...

Read More

Demystifying Iconography #2 | Terracotta Warriors

Welcome back to Demystifying Iconography! In the previous article...

Read More

Digbijayee Khatua: The minuscule illustrator of the metropolis

With a distinct watercolour technique, Digbijayee presents splendid picturesque ...

Read More

Interview with Rubaba Haider

After two successful shows with Anant Art, Rubaba Haider's works continue...

Read More

KNOW YOUR STREET with Anant Art

What's on the corner of your street? Is there a large cat with a ball of string...

Read More

A Look back at Kochi Biennale 2016 | Photo essay

Venues - Aspinwall, Cabral Yard, Pepper House, MAP Project, Anand Warehouse...

Read More

Know Your Street #1 | Lodhi Art District

While tracing the colourful streets of India's first Art District in Delhi's Lodhi Colony....

Read More

Demystifying Iconography #1 | What is iconography?

Britannica defines Iconography as the science of identification, description...

Read More

Buying high-priced art | Good investment policy or easy target for art thefts?

With an increase in cyber crimes and the like, nothing is 100% secure ...

Read More

A New Ecosystem for Art

The absence of a full-fledged government support for the contemporary arts in India...

Read More

Ambience of a momentary vision

I spend most of my time in solitude, being in constant dialogue ...

Read More

Know Your Street #3 | Lodhi Art District

Pune-based street artist Harshvardhan Kadam who runs a studio...

Read More