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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, as well as within our self. 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 to our consciousness. 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 ]. And 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 that everything is variable and the whole thing is constant -- every object is variable and the entire space is constant.
4.
Commonly, the occurrence of a variation is called ‘happening’; and our intelligentsia has developed a habit of documenting all these proceedings in respect to time space and individual. As a result, yesterday is a story for today and today is a story for tomorrow; and in this connection, we can conclude that whatever happens is ‘history’.
Thus, each and every detail of each and every incident becomes a viable element of historical documentation. Because, all of them carry various degrees of possibility and potential to determine the next one and thus whatever comes next.
Similarly, we can easily say that 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 ‘through’ the artist but not ‘from’ the artist. They 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. And these gestures of my behaving, i.e. my behavioral patterns, have taken [ and are 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 the rest is ‘unknown’, which might be considered as the splendour – the most valuable aspect of an art form and life itself.
And thus, the visual outcome of each and every happening becomes the transformation of the ‘aesthetic self’, which includes the existential trinity of the self, the other and the void.
In this way, I have taken the activity of painting [ or any other aesthetic medium ] as a raw interaction between my self and the space around. And I believe that each of these carries 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 already been ‘decorated’ with a lot of dimensions. And inevitably, too much of dimensions 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 contrarily with the splendors of life. 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 cultural generalization.
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. We have been habituated.
As a result, my objects and I 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 comes ‘through’ me but not ‘from’ me. They come out [ willingly/unwillingly ] straight from everything that I possess – everything, positive and/or negative. And so, all these spontaneous imageries are 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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