REFLECTIONS OF NATURE
Oil on Canvas. 96cm x 128cm. 2001[Acquired - Denmark]
Genuine human nature is
often an elusive, silent and hidden phenomenon; which sometimes only manifests
after exposure to a seductive incentive. Some of the seductive incentives may
be drinks, food, exposure to the opposite sex male or female; driven by erotic
emotions and intentions, riches or poverty.
Most people find it
hard to hide their true nature and behavioural colours; when given or deprived
of the things mentioned above. These act as a litmus test to the mode of
upbringing or parenting of a particular individual.
While on parties, wedding
ceremonies, organizational meetings; or simply two lovers meeting for their
first date at a restaurant, it will only be the well parented and scrupulously
natured to practice patience, self restraint; or willingness to share with
others.
It is even worse if the
situation is aggravated with prolonged hunger and delayed services; or not
enough of the necessities to be shared. On weddings, parties; or other social
gatherings, some guests have been often spotted pushing; or overtaking others in
a line, when their turn to be served has not been announced by the master of
ceremonies as yet.
Unnecessary anger,
childish complaints and repugnant rhetoric; is often heard from them as they
shamelessly and defensively; but unknowingly expose this type of attitude in
public. To them, protocol, patience, restraint, conscience, dignity and self
respect are distant sounds in the ears of their dark conduct.
When a man is exposed
to the presence of an attractive woman, with many the inner horny and erotic
animal; will always leak to the surface of his face and flow into his gestures
towards this woman. Unless the man has practiced the talent of visual
restraint, his eyes may not escape the radar like gaze of a silent and spying observer
as his eyes stealthily follow the gait of a beautiful woman pass by.
In such a scenario men
should always follow and adopt the principle of “As you watch, you are being
watched. What you crave to see, others wish too”.
It is only with a few
individuals who can manage to control their drives of sexual emotions; when
exposed to a sexually magnetic opposite sex; that the secrecy of their
potential erotic manifestations will be guarded or hidden. With many, physical
affection, change of voice tone, nervousness, altered breathing rate and fast
heartbeats, slight or heavy sweating, uncoordinated sentence syntax, change
of colour for the light skinned, and many other physical and psychological occurrences;
will inevitably accrue from this exposure and proximity of these mature and sexually
different individuals erotically attracted towards each other.
Towards the worst
degree, with many individuals, the sense of reason, mature judgement of issues;
and perfect decision making is often lost. In the engulfing darkness of sexual
mist, many people become oblivious to the presence of AIDS and HIV; unnecessary
expenditure; a starving family back home, unpaid bills and school fees,
unfinished personal projects left hanging for months or years; and so many
others to mention but a few.
When individuals
acquire enough or a lot of money, they find it hard to obscure it either in
kind, in verbal expressions or in material things. With many, their
behavioural pattern, manners and general conduct is unknowingly shifted towards
arrogance, self conceitedness, general loss of social norms and values,
ethics, extravagance; and often times becoming irritating braggarts.
On the
other hand, when people are constantly haunted by poverty and desperation, withdrawal
sets in. Their hatred and negative attitude towards the rich cannot pass
unnoticed through the way they talk about; or behave towards this group. “Abo
baamala”! Gyobeera tebalifa! [Luganda] “Those are lucky and through with what
they needed in life! It is like they will never die!”
To the poor, being rich
often strikes a level of mystery and magical occurrence. Many rich people are
viewed by the less advantaged as incarnations of mystery, crime, witchcraft, involvement in human sacrifice, corruption, theft, visitors to the
underworld and devil worshiping. In most cases, the rich
don’t have to work hard towards poverty; to win themselves the thorny gift of
malice and hatred from the poor. Even when they fall from the pinnacle of glory
and magnificence of riches and become poor as well, they are never fully
accepted by those who had earlier on resigned from the quest of riches; and had
accepted and embraced poverty as a normal but phenomenological companion whose
mysterious ways could never be solved or overcome.
About the Painting
About the Painting
As a painting,
‘Reflections of nature'; targets to portray the vulnerability of man when exposed
to the overpowering effect of feminine beauty and physical attraction. The
spiritual overpowering energy of the female genre; works on man like an
invisible seductive tranquilizer. It imprisons him in a cage of unquestioning
stupor. His mental vision and judgement is rendered inert; and is silhouetted
against the light of reason. He finds it hard to predict the woman’s next
exploitative move.
Like one local Ugandan
singer [Omulangira (Price) Ssuuna] mentioned in one of his songs; “Love yo yanziba
Amaaso”. [“Your love rendered me blind”]. So are most men in the tranquil of
love.
Often, it does not matter how much a man spends on a single woman or a married one; without having got what he wanted from her. In most cases, the act of sex. Often senselessly; and un retrospectively blindly oblivious to a past painful exploitative relationship, men do often fly back and perch on the parasitic shoulders of these suckers!
It is only when men
become disillusioned of the pretense, deception; hypocrisy and self
conceitedness of these would be lovers; that they will sober up to start leading
a righteous life devoid of promiscuity.
Whereas it is true that
under these circumstances men are most vulnerable because they always make the
first move and proposal of feeling and love, it is also true that even women
can fall victim for as long as they have feelings, material things or love to
offer.
The double sightedness
of the woman in the painting; portrays the foresightedness and ability of women
to juggle themselves between two or more men; while successfully achieving all
they need from each one of them undetected.
They normally watch men
from a stealthy side angle; while keeping a steady and focused gaze at the next
victim, future targets and objectives.
In this reflective lake
of mortal existence and disclosure of human character, when exposed to
seductive incentives of money, materialism, eroticism and sexuality, it is up
to every individual to be alert and aware of the presence and existence of
human vulnerability and portrayal of moral weaknesses towards male or female
sexual magnetism, food and drinks, money and property. The latter are however the
moral mirrors of the inner souls of men and women; and reflectors of their
often obscure but true nature.
NAMUNYE
Version 1
Oil on Canvas.135.5cm x 126.5cm. 2002. [Acquired -UNICEF Diplomat]
In Buganda, the Wag
Tail ‘Namunye’ is a venerated type of bird. Culturally, it is respected and nobody is expected to kill it. If by some mistake a
person kills it, it is supposed to be given a funeral equivalent to that given
to a human being in all ways; and at no other place other than by the lake
side.
The bird was culturally
considered to be Gods prime minister and messenger; who took toll of all the
Baganda in Buganda in the mode of a census.
In Buganda, children
while playing are often heard chanting:
“Tombala
bala; Namunye yambalabala dda.
Tombalabala; ebeere
lyanyabo; lyambalabala da”.
[“Don’t count me; the Wag Tail counted me
long ago”].
[Don’t
count me; my mother’s breast counted me long ago”].
This is a chant which
connotes a negation to being counted. Being counted according to the chant is
like casting a bad omen upon the individual; or Ganda population in general.
Some traditionalists among the Baganda; do believe they may gradually get
decimated as a result of being counted. It is therefore not surprising, that
even when the country proposes a National Census, some people in Buganda don’t
show much enthusiasm. There is possibly a link between the traditional fears
towards being counted and the horror of being decimated as a tribe or as an
individual. As a picture, ‘Namunye’ attempts to depict an artistic impression of the counting process, as Namunye; [Wag Tail] carries out God’s mission among the Baganda population.
THE BOND
Oil on Canvas.69cm x 92cm. 2002
The
very first marriage ceremony on this planet; between Adam and Eve, in the garden
of Eden; was just a simple occasion according to the scriptures. There was no
long endless line of a motorcade of gleaming decorated limousines beaming their
double indicators! There was neither a brass-band; belonging to one of the
leading Angel musicians, excitedly and in frenzy blowing away wedding melodies
from their presumably golden trumpets or saxophones. There were no peg boys or
flower girls; not to mention the best man or matron.
Adam
never met any expenses on buying a suit; or have to hustle with a deceitful
tailor, giving him deceptive excuses for not having finished sewing his wedding
suit on time. He actually attended his wedding in what is commonly referred to
as ‘Adams suit’; nakedness! So did his wife Eve.
The
two wore no wedding rings; and nor did Eve have a glittering diamond neck less
around her neck. There was no reception at the banks of river Tigris or
Euphrates, nor was there an after party. Besides, there were no guests.
There
was no wedding cake to be cut; and neither was there any champagne to spray and waste
into space. There was no single bottle of mineral water or Coca Cola. If Adam
and Eve really went for a honey moon, the two must have spent it below one of
the trees in the wilderness or paradise of Eden.
Today,
there are so many luxuries which accompany introduction ceremonies and the
wasteful weddings. If I was to attempt narrating each scenario in detail, I
would need a thousand pages.
And
Adam finally said: Genesis 2:22:23 “And the rib that the Lord God had taken
from the man he made into a woman and brought her to the man” then the man
said, “this at last is the bone of my bones and flesh of my flesh; this one
shall be called woman, for out of man this one was taken”.
With
those words, the wedding was over without Adam spending any coin. In the midst
of Eden, the two were possibly surrounded by either trees, flowers, harmless
thorny plants or harmless tigers, elephants, snakes, leopards and possibly smiling
lions. These were possibly the only guests on this wedding. It was natural, simple,
cheap, clean, genuine, innocent and holy.
In
Buganda today, the whole process of marriage goes wrong right from the
introduction ceremony. Long ago, the ceremony would involve only about five
people who would pay a visit to the home of the bride to be; to negotiate about
the bride price. Just only enough people to fit in a typical African sitting
room; would be allowed to go to the in-laws.
Today,
a new twist has emerged in the events preceding a marriage process. Long
columns of vehicles numbering between eighty to one hundred; have been seen
heading for introductions in long endless convoys. In the convoy is often a
special lorry; or a large pickup carrying a sofa set, a fridge, a cow, crates
of beer, or sodas, arm chairs, meat, bags of rice and sugar, cartons of soap
and salt; and to a much complex level, new vehicles have been donated to the in-laws.
These
items are not taken to the in-laws in order to fulfill a cultural norm as it
used to be in the past. It is more on the side of showing off and flexing
financial muscle just for the sake of social competition.
In
most cases, weddings also echo the flamboyance and luxury of their introduction
ceremonies. Cakes with ten steps and above; ranging between two and five
million shillings in value; are flanked with bottles of champagne, fireworks,
and live bands from popular music celebrities. Clad in personalized wedding gowns and suits,
adorned on their bodies with golden bracelets and sometimes diamond rings, all these are watched by the bride and
bridegroom from the high table.
This is the order of the day if the word ‘class’ is to be decorated on any
wedding description. The rich and poor can both at their respective levels;
afford a touch of inconsiderate luxury either from their savings or donations
from friends and relatives.
Today,
the meaning of a wedding has been too monetized to the extent of being defined between couples; as
the degree of how much money the man or woman; can afford to give or spend on a
spouse. Many parents have resorted to targeting families with rich backgrounds;
to make sure their daughters don’t get married to the poor and needy group; the
“Kaloolis”; [Marabou stocks] as they are normally referred to, by the well to do!
All
this comes about as a result of worshiping materialism; other than offering spiritual
love and true natural feeling to each other by the partners. On the other
hand, it is also true that some couples do genuinely love and have feelings for
each other, the notion of materialism and money between them notwithstanding.
Others do unnecessarily overspend due to the natural weakness of trying to please
society other than themselves.
To
many, it is oblivious that when all material things or property have
disappeared, wasted, spent or lost, their absence is hard to detach from the
often deceptive love and subsequent separation between the would be lovers. It
is another type of love; demanding another definition for it!
About the painting
About the painting
The
Bond attempts to analyze a marriage situation where a couple is united in body
but not in soul. The wedding vows lock the couple into a fix of irreversible un twistable bolts and deadlocks which lock the past, present and future of their marriage;
plus their lives in general. This locking system is oblivious and inconsiderate
of the possible need for the couple to separate in future, just in case things
don’t work out.
Truth
and trustworthiness always lies in the eyes of an individual. The once straight
and legible information in the eyes of a trusted spouse may become hazy, dicey
and deceptive. At this level, the next step or action of ones lover cannot be
fathomed or predicted. The once luminous and clear mirror of the spouse’s inner
soul through the reflection of trusted spiritual sight is eclipsed by lies,
mistrust, hypocrisy and false pretense.
The
distant hopeful candle of a bright future, happy marriage and general
development; burns out and is finally extinguished. The once flowery beginning of
a hopefully fruitful relationship suddenly turns thorny and sour.
The
petals of a permanent marriage and anticipated endless love, intimacy and
affection finally lose their seductive magnetic aroma, dry up, lose their
beautiful colours; and their original identity is hard to tell. In spite of all
these challenges and changes, the permanent and morally rusty locks of a now forced
unity between two people; remain un adjusted by the non shifting marital laws of
the church.
The
now two distant souls are forced to co-exist amicably; and continue playing the
flute and lyric of beauty and the beast. The church and the law of the land; may
be unaware of the potential and often looming danger; hidden in this forced
unity between estranged couples.
Overtaken
by greed and desire to acquire property and wealth, estranged couples have often gone
to seek redress from courts of law. Husbands who feel and believe to have
toiled alone and so hard for the property they had before marriage; feel
cheated at the time of separation to share it with a partner who found them still
reeling and just recovering from fatigue and a back log of unshared sweat. The two Ugandan
musicians, David Lutalo and Malo, share the same view when in their collaborated
song: “Yajja nakaveera”, complain and lament thus in one of the lyrics: “Yajja nakaveera,
lwaki aleese Loole!” [That if the wife came into her marriage carrying her
belongings in a polythene bag,
why should she carry a Lorry full of property from the man’s house on
separation!].
On
the other hand, women who feel having contributed their devotion to the
husband, love and physical beauty now eroded by time, domestic chores;
and now have no further admirer beyond their current degraded facial status;
feel they have nowhere to go. Not even to their parents homes; more so among
the Baganda where the family bed of the girl going for marriage is symbolically
verbally burnt. “kati wano tetukusuubira kudda; era nekitanda kyo tukyookezza”.
“We don’t expect you back in this home since your bed has been burnt as well”.
In
this stance of rope pulling situation to acquire or protect wealth, the following
scenarios are likely to happen: domestic violence of all category, human rights
abuse, depression and psychological torment, suicide and sometimes murder.
It
is up to the church and the law of the land; to scrutinize the state of these
affairs and address the question whether it should be all about the
introduction and implementation of the domestic relations bill, making external
or internal family negotiations, or creating interventions of true love and
spiritual growth to rule the secret hearts of estranged spouses.
It
should be clear whether true love should begin from the Garden of Eden, from the
couple’s souls; or from the world of materialism and capitalism.
THE KING
Oil on Canvas. 128cm x 96cm. 2002
The king. Close up of Crown
The King. Close up on King
Starting from the first King of Buganda called
Kintu, the leadership of the Kingdom of Buganda was organized on a pyramidal
hierarchical structure as power devolved from the king at the top of the
pinnacle, downwards towards a wider base of supportive administrators.
The Baganda believed in the existence of a
supernatural being. To this, they gave so many names like: 'Katonda', (the
creator) 'Liisoddene', (the big eyed); who sees every where and widely, 'Namugereka',
(the organizer of the universe) 'Ddunda', (the shepherd) 'Omutenza Ggulu', (the one
who rocks the heavens) and 'Lugaba'. (the giver of all things) This, they placed
above the pinnacle of the pyramid; followed by the 'Kabaka', (King) 'Lubaale', (the minor
gods) the 'Katikkiro', (the prime minister) 'Namasole', (the queen mother) 'Abobusolya' or 'Abakulu bebika', (Clan leaders) 'Abaami', (the county chiefs) 'Abalangira', (Princes) and 'Abambejja', (princesses) 'Abamagombolola', (the subcounty chiefs)
'Abemiruka', (the parish chiefs) 'Abamassinga', (sub clan leaders) 'Abemituba', (sub
clan leaders) 'Abennyiriri', (genealogy Line leaders) 'Abolujja or Abempya'; ( genealogy courtyard leaders) and 'Abenyumba'. (
genealogy household leaders)
Because the Kingdom was big, the King used the
devolution system above, to delegate his authority through out the Kingdom.
In this system, he sent out county chiefs to
represent his authority through out the Kingdom. They were called the ‘Baami’; [
Chiefs] as the case required at every level of either the ‘Ssaza’, [county] or 'Ggombolola',
[subcounty] or ‘Muluka’ [parish] levels.
The county chiefs carried all the authority from the
King; and the subjects they led respected them as much as they respected and
believed in their King. Disrespect to the county chief was equivalent to
disrespecting the King; and the County chief could punish any subject in the
name of the King.
In most cases, county headquarters were established
on the highest points or hills in the area; for possibly three reasons: hierarchy,
visibility and security.
About the Painting
About the Painting
The painting portrays the King as the dominant image
in the composition, followed by his crown in size.
Though placed at quite a distance from the King,
close observation of the crown on the right side of the picture will reveal
that if a straight line is projected from it beginning at the top, it will
directly connect with the crown on the Kings head through the same vector. This
explains that though power was devolved to the extreme end of the Kingdom and distant from the center of power, it
still carried the same weight as that found in the main ‘Lubiri’ [Palace]
at Mengo; and was still equally protected. This extension and devolution of
power traversed the whole Kingdom of Buganda and was planted on every hill occupied by
every county chief.
The protected crown on the right of the observer was
put on top of a conical pyramidal structure which serves as its pedestal. This
pedestal is connotative of the ‘Muzibu Azaala Mpanga’ [the structure in which the late King’s Tombs are housed at Kasubi; Nabulagala].
It is also the official burial ground for all Buganda Kings.
Oil on Canvas 90cm x 117.4cm. 2002 [Acquired]
Detail of February 14th
February
14th
Oil on Canvas 90cm x 117.4cm. 2002 [Acquired]
Detail of February 14th
For
those people who don't put keen interest on dates and their related events, it
would be hard for them to relate the month of February and its 14th
date to a Saint called Valentine. This is the day that lovers have attempted to
monopolize and make it their own. However, the true story about this date is
that each year on February 14th, many people exchange cards, candy,
gifts or flowers with their special “valentine.” [a friend or valuable person
in their life] It is a day of romance named after a Christian martyr and dates
back to the 5th century, but has origins in the Roman holiday
Lupercalia.
On this day, lovers are in top mood
of being loved or showing how they feel about others in the context of love.
For that matter, partners do send out ‘signs’ to their loved ones to prove how
much they are attached to t hem.
The commonest sign is when a person
sends out; or personally takes a bouquet of flowers to a loved one. The person
to whom the bouquet is sent or given is expected to reciprocate in one way or
another. He or she can also send a reciprocal bouquet to resonate the other
person’s feelings and intentions.
Valentine’s day pervades the environment
with flowers. Couples clad in red costumes are seen moving in every corner,
each carrying a bouquet of flowers. Sadly, many of these ‘would be’; and
‘lovers for real’, may not even be in position to explain the
genesis or meaning of the day; let alone the signification hidden in the
flowers or the colour of ‘red’ in the garments they would be clad in.
About the painting
The painting is targeted to reveal
the inner self and thinking process of lovers on the day of February 14th.
On this day, all those involved in
this love scenario and perversion of flower giving mentality; are oblivious of
their momentary loss of the human condition, conscience, principles, rationale,
personality and identity.
The participants subconsciously
assume the ‘insect condition’ and its general behavioural characteristics. The
human and insect species are united by a common interest; the quest for the
most seductive and colourful flowers from which to suck nectar for food in the case of the insects, or to
rev up the nectar of the love phenomenon between lovers in the case of human beings.
As insinuated above, it is only the
purpose which may differ between the two types of hunters for the flowers and
respective type of nectar being looked for. While the human beings look for the
psychological nectar of love from the flowers, the insects look for the real
nectar as food for nutrition.
The lower portion of the picture;
serves to represent the early hours and activities of lovers on Valentines Day.
The 'insectness' of the romantic participants is more pronounced in the morning.
This is when their nature is pushed too close to the resemblance of insects; or
some grotesque nectar sucking creatures. In this section, the psychological
metamorphosis and transformation of the the human condition to 'insectness' is symbolized. The human
being is transformed into a sucking creature of flowers; looking for the
metaphoric 'love nectar' hidden there in. The human mouth as we anatomically know it;
is no longer needed. A modification on it is crucial. The proboscis is a better
sucking substitute device in this situation.
As the erotically charged buyers of
bouquets swarm around the sellers of flowers on the streets, so do they
unknowingly resonate swarms of insects invading and sucking nectar from flowers
in people’s gardens.
The midsection of the painting
symbolizes the gradual shift between fantasy and reality. With many
participants in the Valentine’s Day scenario, this is when they become
disillusioned to distinguish between reality and deception. It is when true
lovers are identified and fake ones unmasked. It often downs on some lovers;
when on taking a bouquet to the residence of a would be trusted lover, it is
not uncommon for one to find two or more strange bouquets already delivered in
advance; or being delivered at the same time from elusive unknown players in
the same field.
Sense is normally knocked into most
lovers around mid-day. For most of them, belief in their disappointments
sometimes takes long to take hold. The insect nature does not only persist to
thrive in their psyche, but their brains also continue to carry surrogate parts
of the insect mind.
The upper part of the picture
represents true feelings for one another; where trustworthiness and true love
exists. At this juncture, liars, hypocrites and double or triple dealers in
love affairs are sorted out and discarded. Happiness, romance, outings, cerebration and affection traverse the environment of true and genuine
partners; as they continue to suck the nectar of love but with intimate and
erotic associations.
DEFILER
Oil on Canvas. 69cm x 92cm. 2005.
My perception of the act of sex; is that there should
be two mature willing couples to get involved in it. If there is no consent
from one of the parties, then it mounts to rape and to no other definition.
In Uganda today, some people have failed to
distinguish between adults and children when it comes to choosing sex partners.
Men aged over sixty years; have been caught red handed with children of fourteen
and below. Poverty and the need to survive; have closed the gates of conscience
and opened the frontiers of desperation; for the under age child!
The following categories of people have been widely identified as most vulnerable to the unscrupulous sex goons. Maids or House girls, distant relatives, step children, to some extent house boys, old widows, school children and victims of incest by their own parents.
The following categories of people have been widely identified as most vulnerable to the unscrupulous sex goons. Maids or House girls, distant relatives, step children, to some extent house boys, old widows, school children and victims of incest by their own parents.
The under aged, the desperate and poor people; have
often found themselves at the crossroads of cross generational sex, death and
survival. Because of self conceitedness, lack of conscience, religion and morality,
old men and women rarely stop to ask how they would feel, if what they were
about to do to someone’s child was being done to their own children. Sadly, in
the frenzy and stupor of bodily desire, the mirror of conscience and self
reflection is marred by the silhouette of sexual greed.
In another tilt, some men and women defile children as
a result of superstition. Traditional healers have been referred to in this
crime; as the ones who prescribe defilement of a particular child; or having sex
with the mentally disturbed, domestic animals or birds; as some of the occult
acts to achieve superstitious objectives like becoming rich or any other target
as the case may demand.
In this context, respectable men and women have
surprised the public; when they have been caught raping children or having sex
with domestic animals like cows and goats; not because they lacked a clear
conscience, but because they were fulfilling a particular spiritual remedy from
a tradition healer. This is how some goats and cows have given birth to grotesque
creatures which are partly human and partly goats, pigs or cows. It is also
true that some adults opt to rape children; with the excuse that they are not yet
infected with HIV/aids. Some animals have also fallen prey to these
superstitious groups, with a presumption that they are safe from HIV/Aids.
On the other hand, some Men rape animals due to
poverty. Besides, cows and goats will never ask them for perfumes, cooking oil,
television sets, clothes, accommodation or smart phones!
“Sex with an animal is free and does not exceed the expenditure
of readily available grass and a rope with which to tie it”! They shamelessly argue.
About the Painting
As a painting, the Defiler attempts to address the social
issues stated above. The picture was constructed basing on the technique of
visual transparency; so that the image on top or in front of the other does not
obstruct the one below or behind it.
The artist in this case visualized sex as a musical
phenomenon. Whether the act of sex is augmented with movement, whispers, sighs,
grunts, gasps, whines, shouts and so on, it is to a certain degree a musical
composition and a song of some sort.
The violin was chosen to represent the musicality of
sex; and the violation of children’s rights. The violin is considerably a tiny
instrument; if compared to a bass guitar or banjo. It could in this case
serve a dichotomy to stand in for children and their sexual vulnerability.
When the right instrument of music is played in a conducive
environment, at the right time and by the right player, a good response between
instrument and player should be expected. Between the two, harmony and synchrony
is achieved.
If the child being raped is perceived in the context of a
small and vulnerable musical instrument being played wrongly like one would play
a base guitar or banjo, the expected pleasure of the right sound and music from
that instrument would be far from being achieved. It would be all pain and agony for
the child! Like wise, if the right instrument is played at the right time by a suitable
professional, the expected response in sound and accompanying music will be achieved.
When a child is raped, it is like the strings of a
Violin or Guitar have been forcefully broken. The expected sound or pleasure of music;
will never be achieved in this new state of the instrument. Children’s
virginity has been broken thus; and it never gets physically or psychologically
repaired. It is a damage done to both the physical body and psyche of the
child. The cracks of the damage; also make extensions to the parents and relatives of the
victim. The state also loses a possibly useful individual in future.
SERENDIPITY LANDSCAPE
Edition 1
Serendipity Landscape 2005 [Acquired]
Close up Left
Edition 2
Oil on Canvas. 2012
Edition 3
Oil on Canvas. 126.4cm x 97.4cm. 2014
[Acquired]
[Acquired]
The commonest way to paint
landscapes; is when the artist goes out to seek a beauty spot from nature,
chooses a suitable vantage point and visual angle, and executes a painting
bearing content and subject matter of his choice.
It is however also true; that as we
live on this planet in our respective environments, what we keep seeing and
enjoy aesthetically by our artistic conscious sense; keeps recording itself in
our 'subconscious' and 'unconscious' minds with out our knowledge. It is only when
this scenario is put to test; that the artist will get disillusioned to know;
that there are hidden images in the subconscious and unconscious levels of the
mind; which can only come to surface when the artist works automatically;
having suspended the conscious and letting the unconscious and subconscious
levels take over the construction of the piece at hand.
In this mode of operation, it is
better to automatically let the mind spontaneously flow with any image it can
possibly provide; but along a common theme. The best results can be achieved
when painting away from nature, and enclosed in studio space devoid of any
visual reminders from the external world similar to the topic being painted.
It is important to keep the visual
elements and principles in operation; even when automatically painting or sketching
for this type of work at the subconscious and unconscious levels. This allows a
spontaneous flow of the images generated by the pure and uncontaminated mind.
About the
painting
Serendipity as a painting was done
in this mode; letting a free flow of images until the visual frame was full.
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