Dasara evokes a way of nostalgia for artists; we caught up with Madhukar Mucharla, Komakula Rajashekar, Debabrata Biswas, Sumanto Chowdhary, and Madhumita Das as they share their renditions of the festive season
Artwork in leather-based
Madhukar Mucharla’s Durga portrait is straight from the center. Presently on his residency at Chippa Sudhakar’s studio, the artist is impressed by the story of a migrant employee from Parigi in Vikarabad district of Telangana. “Reverse migration among workers is a sad reality,” he says.
Having used leather-based to focus on the lack of occupation among the many migrant labour pressure, Madhukar elaborates “Making leather products is a source of livelihood for the Madiga community. The intricately stitched artwork is a symbolic representation of the work and place of origin.”
Including that he noticed his father toil in leather-based making, he shares, “The one and a half feet portrait carved out of leather is modelled in the form of a village goddess — big eyes, nose rings, ear studs and head gear decorated with layers of flowers.”
Dasara evokes a way of nostalgia for artist Komakula Rajashekar who did his MFA in Kolkata. “It was fascinating to see how people plan and prepare for the pandals three months prior to the festival,” he remarks.
A printmaker who additionally likes to sketch, Rajashekar’s work on a acid-free mount board displays divinity. With an eye fixed for element and complex patterns on the crown and ornaments, Rajashekar has used a mixture of acrylics and watercolours to create Durga in a recent model.
Apparently, the artist who typically sketches a Ganesha throughout Vinayaka Chavithi celebrations has tried a Durga type. “I keep my Ganesha sketch during the puja and later frame it. The Durga sketch is for my memories and to keep the festival spirit high.”
If there’s one factor that artist Debabrata Biswas needs to overlook it’s the human distress of COVID-19. “My canvas is for hope,” says the artist who hails from Jamshedpur and has lived in Hyderabad for 21 years now.
The artist combines artwork and deep devotion to create two artworks — one representing the goddess’ face and the opposite symbolic of the enjoyment felt in the course of the chanting and aarti throughout a Durga pooja.
The acrylic canvas depicts symbolic components of Shakti — dhaak, trishul, lotus and the demon. “The festival spreads happiness and stands for humanity and equality in front of the goddess,” says the artist including it’s a new starting. “The goddess leads us from the front asking us to forget the past and make a fresh start.”
A cubist strategy
Navaratri at Sumanto Chowdhary’s home comes 10 months early, when the artist begins to plan a singular Durga idol.
After utilizing metallic craft, wooden, reverse portray on acrylic sheets as mediums, this 12 months the artist has opted for combined media on wooden.”
Durga with a cubist strategy is an emblem of energy and enthusiasm. She is classy in look, but beholds devotees with blessings. The goddess right here is ‘Celebrated a constructive way, in geometric forms. Her martial and regal forms evoke awe,” he says of his artwork.
The first step in creating the four-feet-tall idol was to assemble 28 pieces of wood; he then carved out out patterns, fixed them with glue and then painted it.
“The big work needed a lot of detailing and planning,” he says. Sumanto has also created a drawing depicting how one can use the goddess’ weapons of self-discipline, service, prayer, cheerfulness and prayer to slay the demons of negativity, pessimism, greed and worry.
With a specialisation in sculpture, portray and printmaking, artist Madhumita Das (spouse of artist Sumanto Chowdhary) gave a brand new dimension to wood items at dwelling. “I didn’t change the shape but just arranged them to create a form,” she shares.
With a prayer for the pandemic to finish, the Ashtabhuja goddess or ‘the one with eight limbs’ is depicted carrying her weapons to guard the nice and destroy evil.