Sculpture '95 ' Concepts and Commitments

The idea of a Sculpture show comprising of a number of sculptors came to my mind during my stay amidst the seductive and serene environs of Patni Top (J&K). An informal chat with Rajendra Tiku became the nodal point of this event. We realised that there was no dearth of innovative sculptors in the country; what was, in fact, needed was to bring a select few on a common platform. But then this was easier said than done. For this, one had to make a concerted effort to bring in a wide spectrum of artists, which was no mean task. But the challenge seemed worth taking. Thus began this adventure whose fruits are before you. I roped in many in this adventure, and got their active support, encouragement and co-operation.
It all happened when I met
Mrs. Renu Modi, a very enthusiastic and encouraging art connoisseur. The ease with which she extended her support was heartening for me. I was excited by the very verve of her support for me, because this was the first instance that a person was offering her support for such an event. Meanwhile, I continued travelling in search of sculptors. My itinerary included Baroda, Delhi, Madras, Calcutta, Bangalore, Trivandrum, Mysore, Kanyakumari and finally the birth place of Modern Indian sculpture - Santiniketan. During this journey I came in contact with experienced sculptors (friends and colleagues) and this rich experience,I gained thereby, couldn't have been achieved during the long weary years of art education.
The spontaneous response of my colleagues to the idea of Sculpture '95 has been my real strength. During personal contacts or even by correspondence, they all lauded my efforts and offered encouragement and advice. The dream has come true but the ecstasy and excitement experienced prior to the event will remain etched on my mind and heart. Complications arose no end. Nervousness and even utter helplessness overtook me time and again, but when one had so much goodwill and trust to fall back on, one moved towards the goal, all albeit, slowly but surely. The goal was distinct and so was our determination. Faltering and fumbling, but never yielding, I moved on.
Individually every artist has a personal identity, which finds reflection in a certain peculiar characteristic in his/her work. In this show, I have, to the very best of my knowledge, tried to carefully represent those amongst us, who courageously departed from established norms, especially those who despite their unquestioned talent are not able to find a place at the centre stage of the world of sculpture. Inspite of the fact that they have exploited newer forms and themes, they have remained largely unnoticed by connoisseurs and critics.
The variety of medium is of utmost importance, because using varied medium the artist tries to realise what can best express his/her inner urge in totality. His/her work being the gist of an untiring effort, vision, energy and above all the creativity which mesmerises the viewer, no matter whether the material is clay, stone or metal. After all the medium is only a means to give a name and shape to that 'airy nothing", which is in perfect control of himself! herself, and thus !he phenomenal world of ever varying shades and colour is made to dance in complete harmony with his vision.
"Form is of utmost importan(ie in sculptures, so is proportion. Gods and nature are the purest of forms known to our mortal world. Thus we happen to idealise them to reach near precision and perfection and herein lies the beauty of any creation." In this context sometimes, you admir "the hipped stone and then the firmness of the carved wood and then again the sensual feeling of the clay which transcends into cast bronze or fibre glass. Sometimes, the mighty iron expresses the exquisite details, and at another you enter the mystique of primitive medium such as ceramic, terracotta and.pottery, opening up new aveues through installation art. Sometimes, you confront figures in boxes, leathers oil, at another. Then a series of lotus flowers blooming in muddy waters capture your attention and you stand rapturous, hardly realising, that the petals, far from being soft and silky are hard pieces of iron moulded on the anvil. The ethereal beauty of the Sculpture is related to the medium as the body is related to soul (atman). In the absence of the one, the other loses its relevance. The exhibition introduces us to tradition and modernity in perfect harmony. We hope that every exhibit will reveal its strength. After all a common medium while undergoing various situations and processes becomes a not so,common creation; this is the ultimate test of an artist's professional calibre. We live with nature which abhors vacuum! Whenever a void develops, something new is born to fill in. The 'Newness' of these sculptures will speak for itself.
It is openly recognised that conteinporary Indian sculpture has freed itself from the shackles of rigid or fluid Western style. At the same time, it should also be admitted that in this process of liberation and individuation, our contemporaries have been greatly helped by those sculptors who themselves were swinging between the Western style and the native Indian style. They were the ones who brought home to us the simple truth of the futility of trying to sow 'exotic' seeds in the role of their experiences in our own education as sculptors and artists. No parochialism or insularity should be attributed to us. As artists we are what our own surroundings have made us. Genuine creativity is always an object of admiration and emulation, but never an object of blind and slavish immitation. Ours has always been a liberal worldview. We have always been receptive to healthy ideas and influences and have tried to assimilate and make them our own. Whatever has been constricting and stultifying, has been rejected by the Indian mind. What we regretted and still regret, in the Western style, was its tendency to dominate and dictate.
For the last 20 years I have been in the field of sculpture and the present event at least partly reflects my own experience and assessment. I happened to meet more than 20 artists, each living sincerely with his/her creative pursuits, having developed his/her own personal style. Although they have been ably guided and nurtured by their teachers and art-institutions, their contribution towards modern contemporary sculpture has been out of sheer personal passion.
The rich tradition of our sculptural heritage since antiquity has been the ultimate source of their creative efforts. I am, at times, pessimistic about the attitude of some of our seniors and elders. Their attempt at novelty - has been only responsible in stunting the growth and richness of contemporary Indian sculpture.
In this situation, it is to the credit of these sculptors represented here, that facing all odds and challenges, they have come to terms with the 'complex' experiences of our times. And they have explored newer modes and materials to create images and forms of immense interest, and significance. I am sure one would notice, the wit, the humour, the satire, the dreamy quality and the sheer sensuousness, which have gone through with such predsion in moulding and creating their forms.
A refreshing search is still going on, and one can hope that in the near future, the full blossoming of this creative urge and pursuit will be offering us much more than is offered here. It is only the beginning perhapsa beginning of newer perceptions and it's time to rejoice with these perceptions. This is the minimum they deserve at this turning point of the contemporary Indian sculpture.

MADAN LAL