A TALK WITH ARTIST DINKAR JAD­HAV

Con­stant change is must.

Woman's Era - - Contents - Su­man Ba­j­pai

Pune-based artist Dinkar Jad­hav has es­tab­lished him­self as an artist who dares to walk on a path less trod­den. He was born to farmer par­ents in Jad­hav Wadi, a small vil­lage near Pune in Ma­ha­rash­tra that has now been to­tally washed over by a dam built in the area. From thick im­pasto knife work on acrylic in his ear­lier works, that bear signs of his West­ern in­spi­ra­tions, to the wild an­i­mal en­ergy of his newer pieces, ren­dered in sheer lay­ers of paint that ap­pear al­most trans­par­ent, Dinkar Jad­hav has ex­per­i­mented and evolved, which he con­sid­ers a cru­cial trait for the cre­atively in­clined. He feels that if one is not con­stantly chang­ing, one does not learn enough to be­come ver­sa­tile. Dinkar’s art un­der­stands change, and most im­por­tantly the value of ac­cep­tance in trans­lat­ing that change into an­other, more lu­mi­nous lan­guage.

Apart from par­tic­i­pat­ing in Pra­fulla Art Foun­da­tion Kalanand con­test, Dinkar has re­ceived many awards from The Bom­bay Art So­ci­ety, Art So­ci­ety of In­dia, V.V. Oak Award, State Art Award for por­trait, Best An­nual awards for many years and Ist An­nual award for sketch­ing. Ex­cerpts from an in­ter­view: How did you started your jour­ney of art? From the early days did you want to be­come an artist?

From my child­hood days I was in­clined to­wards art. It was my hobby and a pas­sion also. When I was in 8th stan­dard, I had de­cided that I wanted to pur­sue art and would like to do some­thing dif­fer­ent as an artist. But re­ally I was in­tro­duced to ‘art’ by a draw­ing teacher.

Recog­nis­ing my artis­tic po­ten­tial, my teacher in­spired me to se­ri­ously con­sider a ca­reer in the field. I took the plunge and en­rolled my­self in an art col­lege in Pune. It was in the li­brary of this col­lege that I dis­cov­ered art from the West. I was moved by the works of English land­scape pain­ter J.M.W. Turner and Dutch post-im­pres­sion­ist

Vin­cent van Gogh. Por­ing over their works for long hours ce­mented my re­solve to be­come an artist, and their in­flu­ence is very ev­i­dent in my early works also.

In the process of your artis­tic jour­ney what have you ex­pe­ri­enced?

In the process of my artis­tic jour­ney, I had faced many ad­verse sit­u­a­tions. I took up any art-re­lated job I could find, from paint­ing idols to dec­o­rat­ing tem­ples. And the beauty of it is, that I was learn­ing while earn­ing. I had also worked on com­mis­sioned projects for ar­chi­tects and de­sign­ers in those early days. But for me my big mo­ment came when I was given the chance to make an art­work for the Vi­vanta by Taj Blue Di­a­mond Ho­tel in Pune. The man­ager of the ho­tel asked me to cre­ate an art­work, on the con­di­tion that he would put it up in the ho­tel only if he liked it, and if not, I could take it back. When I pre­sented my paint­ing to him, his re­ac­tion was so en­cour­ag­ing that I can never for­get it. He paid me ` 5,000 for that paint­ing, which was more money than I had ever seen in my life. In this process I have ex­pe­ri­enced the artist’s an­guish to ex­press his feel­ings on the can­vas and then his ec­stasy when it has taken tan­gi­ble form through the colours of imag­i­na­tion.

How was the idea of Ashwa Chitra­mala (horse se­ries) gen­er­ated? Is it a love for the an­i­mal or some­thing in­spired you?

I was drawn to­wards horses for the strength that they rep­re­sent, but more so, be­cause they are a re­minder of his agri­cul­tural roots, and his con­nec­tion to the earth. I first started paint­ing horses af­ter a visit to Mum­bai, where I saw them draw­ing ton­gas (car­riages) in the streets out­side Vic­to­ria Ter­mi­nus. Moved by the pa­thetic, re­strained con­di­tion that these pow­er­ful horses were sub­jected to, I de­picted their plight in my art­works. I be­gan por­tray­ing them in dif­fer­ent ways to high­light their beauty and emo­tions.

In sharp con­trast to my ear­li­est por­tray­als that were full of an­guish, I de­cided to de­pict the horses as free crea­tures in my later works. Even I got a chance to show­case my solo show in Je­hangir Art Gallery at Mum­bai in 2011 and I had de­cided that I would do some­thing new in po­tray­ing horses. So I had started study­ing about horse, went to races watched horse races, met jock­eys, made sketches search­ing on net and af­ter eight months’ re­search. I got my new style in mod­ern horses.

We be­lieve that your se­ries Lust for Love is a new style art for the art lovers. Please throw some light on this se­ries.

In Lust for Love! se­ries I had painted horse cou­ples en­grossed in pas­sion­ate love with a heart of an ev­er­green ro­man­tic. The colours are bright and gleam­ing with self- as­sur­ance, the brush strokes are gen­tle yet con­fi­dent and echo­ing the spirit of carpe diem that is seize the day! My horses sym­bol­ise the un­daunted quest of hu­man be­ings for the great­est of the feel­ings called love. I had also in­tro­duced the bull, the sym­bol of mus­cu­lar­ity and viril­ity, in my port­fo­lio this time. These bulls are mighty, con­fi­dent and mak­ing charges to­wards their dreams and de­sires. This se­ries is the de­pic­tion of my heart of the heart and the ex­am­ple of my hon­est en­dur­ing jour­ney to­wards the ex­cel­lence. My bulls are drawn from their syn­ergy with the soil. These are an­i­mals that have a spe­cial sig­nif­i­cance for crop-grow­ers.

What type of colours do you like us­ing and why?

I use acrylic colours, giv­ing treat­ment by us­ing eight to 10 lay­ers of trans­par­ent colours. And I also use char­coal so that my can­vas would look very soft. I gen­er­ally use very vi­brant colours.

How do you see con­tem­po­rary In­dian art grow­ing?

Con­tem­po­rary In­dian art is grow­ing im­mensely. When I had started my car­rier we had few op­tions but now peo­ple have a sharp sense about mod­ern art and they have lot of aware­ness about fine art. Dig­i­tal me­dia is cre­at­ing big op­por­tu­ni­ties for artists so that art can reach very eas­ily to com­mon peo­ple and art lovers. It is a good thing for art and artists in In­dia.

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