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Artist Exhibitions:
2008 'Art Mela', organized by
Gallery Exposure, Kolkata,
India
Annual Exhibition of
Birla Academy of Art &
Culture, Kolkata
2007 'Painted Delights',
organized by the Birla Academy
of Art & Culture,
Kolkata...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Sanjay Sen Gupta
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The Aesthetic Gesture
my attitude towards art
_________________________
1.
Life is a splendor.
This splendor is manifested through various dimensions all around us; and within our self as well.
It is an eternal continuity of harmony – a variable balance between all the contradictions and diversities.
It’s a journey from the beginning of the end towards the end of the beginning.
And we are the blessed, the chosen ones; and life goes on – with and/or without.
2.
When we think or/and speak of our ‘self’, the ‘self’ becomes highlighted, focused. And thus everything else defuse into a sense of nonexistence, a sense of nothingness, a sense of ‘void’.
Contrarily, when we think or/and talk about anything else, i.e. the ‘sense of other’, the ‘self’ defuses into the whole and becomes a part of the ‘void’.
And when we focus on ‘everything’, the ‘self’ and the ‘other’ loose their viability and defuse into the whole. Thus the focus gets split and ‘everything’ becomes synonymous to ‘nothingness’, the ‘void’.
Each and every moment, in each and every act that we perform – knowingly or unknowingly – our sense of being keep changing sides. The ‘self’, the ‘other’ or the ‘void’ – every time, any of these is selected automatically by our subconscious; though all the three are equally true in every sense of our reality. All of us carry them throughout our life.
Besides the continuous happening of automatic selection, this trinity [ self, other and void ] themselves keep interacting with each other to guide us in every possible step. For our lifespan, this game is evolutionary but unending.
3.
The human intelligentsia has defined the sense of void as ‘space’; and whenever any part of this ‘space’ gets focused [ i.e., defined by any closed form ], we call it an ‘object’ [ i.e., either the self or the other or both ].
In every aspect of our existence, the objectivity of a defined form is always determined in respect to the sense of ‘space’.
Because, we know – everything is variable and the whole thing is constant; every object is variable and the entire space is constant.
4.
Commonly, the act of varying is called ‘happening’; and our intelligentsia has developed a habit of documenting the proceedings in respect to time space and individual.
Following that perspective, yesterday is a story for today and today is a story for tomorrow. So, we can say that whatever happens is ‘history’.
And thus, each and every detail of each and every incident becomes a viable element of historical documentation. Because, all of them carry possibilities and potential of various degrees to determine the next one and thus whatever comes next.
Just like that, [ I believe ] each and every mark – may be a dot, a line, a scratch or a patch of color – which an artist creates or executes on a particular surface, can definitely be a sole proof of his/her aesthetic perception.
Because these pieces of expression come out [ willingly/unwillingly ] straight from everything that he/she possesses – everything, positive and/or negative. And each of these pieces is able to reflect his/her comprehensive attitude towards life and aesthetics.
5.
As a human being, I am active and my actions are manifested through my gestures.
The gestures of my behaving, i.e. my behavioral pattern, has taken [ and is taking ] shape through the gradual development of my comprehensive attitude towards life.
They are the visual truth resulted from the unending interaction among my ‘self’, the ‘other’ and the ‘void’. And that’s where every possible gesture becomes important.
Because, each and every snap of mine -- is ‘me’ and ‘me’ only, nothing else.
6.
As an artist, my prime intention is to keep on registering all the potential interactions that have some kind of appeal to my aesthetic perception.
In this process, the subjects are chosen, developed and manifested automatically; and the activity of painting [ or any other form of execution ] goes on – with and/or without.
This comprehensive spontaneity of happening is the most important aspect of my work. It transforms a potential interaction into another defined form. And if anything remains undefined, that is subject to be discovered and cultivated – both by the artist and the spectator.
In this way, the visual outcome of each and every happening becomes the transformation of the ‘aesthetic self’; and everything else [ along with the ‘sense of other’ ] defuse into the ‘void’.
In this way, the activity of painting [ or any other aesthetic medium ] can be taken as an interaction between my self and the space around. And each of these carry the possibilities and potential of various degrees to determine the next one and thus whatever comes next
7.
In these circumstances, I should rather identify and introduce myself as an objective painter, who doesn’t intend to tell a story.
Because, I believe that the entire life-scape of human civilization have been ‘decorated’ with a lot of dimensions. And too much of dimensions -- as it’s inevitable -- have resulted into an overall flatness.
Too much of happenings all around our experiences have numbed our sense and sensitivities.
We are no more surprised with anything; not even with the ugliest evil or the splendors of life that we have been offered. Hence, we have learnt to remain indifferent under all circumstances.
On the other hand – Economy has taken over every aspect of our daily living.
Globalization is gradually leading towards aculturization.
Each and every moment, we are moving away from nature and thus from our soil as well.
Our identity, the sense of being, is loosing its significance.
Day by day, the reality as a whole seems to be more virtual in nature.
And the saddest part is that we are not bothered at all.
As a result, my objects have lost their subjectivity.
I have no special message to deliver, except my gestures.
And we all know that each and every gesture – that I project – can definitely be a sole proof of my aesthetic perception. Because each of these behavioral patterns come out [ willingly/unwillingly ] straight from everything that I possess – everything, positive and/or negative. Each of these patterns is able to reflect my comprehensive attitude towards life and aesthetics.
8.
As a living creature of this post-modern globe, I am in search of that comprehensive spontaneity.
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