I had read it somewhere that space is something in which things exist and in which all movements take place (otherwise it is nothing!) This relationship between space, existence and movement has stuck in my mind over the decades of my working life as an artist. In all my works I have been dealing with space. And all the forms and objects therein have served as residents of that space – forms and objects with their own dynamics, their own identities and functions.
However, I have taken care, that the forms and objects I introduced in my picture space, well integrate with the space they are lodged into and perform a function that amounts to just declaring their existence and their right to exist therein (whether in harmony or conflict). These forms and objects have a function (the function I decide them to be performing). And that function is generally decided by the space I allot them. And they are made to exhibit a lively interest in both their existence and environment.
However, I generally divide my pictorial space in order to create both depth and mood. Here comes in my architectural sense which I have been developing over the years. And for this purpose I have used colour – colour which is the very essence of existence. Often, the abstract nature of my work demands a symphony like treatment – open, yet organized and controlled, if only to achieve the purpose art by its very nature, is supposed to achieve. However, being a ruthless editor of my own work, I very strictly judge whether the created work offers my audience the view and vision (an alternative vision), I mean.
An alternative vision is of course the very need of art, whether abstract or realistic (by realistic I do not mean photo-realism). And it is a more pressing need of our time as civilization fatigue sets in (boredom with the harsh realities of life, set patterns of living, thinking and movement etc.) Much of course has been said about faceless men, concretised urban landscape, red, yellow and green lights at every road crossing, standardised thought patterns and so on (some, flaunted as tradition) or hot stuff from fashion factories). All this strangle hold on our mental space it to be broken, shrugged aside new denizens of an abstract world are to be invented and installed. It is the prerogative of an alternative vision. Something which I am always under compulsion to offer.
But I must also talk of feelings – feelings for which artists use colour. There are different vibrations of course. And at times, I must admit, these try to pull me apart. And my major task becomes, how to keep them within the limits of abstraction, that is, how to keep my colour component from becoming sentimental or melodramatic. I have of course no fear of their touching the periphery of drama, as some of my works would indicate. But I am conscious that an internal dialogue (that is, within the picture space), among the forms and objects should not over-ride the subtler and finer communication between the work and the viewer (the audience that finally brings the work alive).
Of course, I am aware that it is a narrow path I have to travel, like the narrow mountain paths and the snowcaps above, wherein a false step might cause an avalanche. But all that risk is to be taken with the boldness which only an artist could display.
I have had a successful art career and I am rather proud that my audience and my own inner strength have always supported me. And I have always had a favourable response from art galleries and establishments without an exception. This situation is indeed cherishable.
Day in and day out of course I am being made aware of an art market. There is one indeed wherein the value of art does not show a steady graph as it used to in earlier times, when art attained eternal values. However, I have no quarrel with it. Once art goes public, it lives its own life. From my point of view, if I am allowed to make the point, its value for me lies in what it has achieved on the creative plane. The rest is, what the world calls it or weaves around it.

HEMRAJ

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