Pushpendra Kalra's Paintings - A long take of emotions
When we visited SPARSH, an exhibition of Drawings & Paintings, on its inaugural day, 31st January, we were captivated by the harmony of colours and emotions. We recognized that we were witnessing remarkable works of art, yet we knew that only a trained art critic could write an authoritative review of this exhibition. Among our friends, Dhiraj Singh was the sole person to whom this responsibility could be entrusted. We are deeply grateful that he agreed to write this review.
Pushpendra Kalra's Paintings - A long take of emotions
Dhiraj Singh
Art flows in many directions. A painter is found in many moods and mediums. If this fluidity keeps the joy of discovery of an artist interesting, meeting an artist in a comprehensive exhibition is the consummation of a joyful quest which may lead to a more permanent appreciation of the genius of the artist. ‘Sparsh’ an exhibition of drawings and paintings of artist Pushpendra Kalra provides a solid space for forming a more stable relationship with his work which is simply not possible in fleeting encounters. Beautifully curated exhibition at AIFACS on Rafi Marg is an important event which lives up to its promise of being an intriguing experience without losing any of its intensity.
The title of the exhibition ‘Sparsh’ is apt as Kalra’s work aims for tactile solidity over kinetic sensation of movement. Like a cinematic ‘long take’ many of his paintings wish to register their core emotion by staying a tad longer in the radar of our perception. For example his Sankeertan paintings guide the viewer to the deep serenity by keeping the canvas clutter free. Eye is not coerced to move quickly and the area of the paint and gaps aim to convey a gestalt in its entirety. The goal is to achieve formal composure rather than leave a chaotic engagement. This may sound a little safe but achieving sensation in a not so ‘clever’ canvas devoid of popularity seeking visual calisthenics is admirable and bold. His watercolors impress by their serenity and an echo of spiritually content refuge.

However, his acrylics are a different ball game altogether. A palette reminiscent of Tayyab Mehta, he achieves emotion with shuffling of emotions at a cinematic scale and engages the viewer with helpful pointers of shades and motions to establish a deeper and more dynamic connection with the painting. For example, ‘Harshit’ has the same content look of the Sankeertan series but it has whirl akin to post-coital chaos yet to settle into contentment. The framing of the main subject in motion indicators brings a quiet energy to the canvas. The same coiled inference can be seen in ‘Udaan’. Subjects are conveying an almost athletic joy while not being too aggressive in their facial expressions. His idea of feminine joy appears to be unencumbered and guilt-free without taking a bizarre flight. Quite an accomplishment. Thick acrylic medium gives his work a solid presence which makes the movement rooted in the reality of rootedness, giving it a frame that is immediately relatable.

His paintings with musical instruments (Dholak and Bansuri) are perhaps the best depiction of trance and its deep immersion punctuated by its chaotic grip. These paintings actively guide the viewer. The eye is guided to take the plunge at a certain pre -decided point. The viewer is lulled into having the impression of retaining the control but the fact is Kalra is very clear about the impact that he wants from his audience and gets the same reaction very comprehensively without even letting the viewer know. No wonder, the flute painting is titled Sammohan.

The secret of both his tactile solidity and kinetic feel is revealed in the lines of his drawings. Drawings are moving with meaning and proportion. His impact is not achieved by formal adventurism or leaving the contours incomplete. His movement is fully formed and appears on canvas without any tentative note. His proportions are classic and he does not take shelter in distortion to achieve impact. Lines are bold and fully formed.

This boldness and completeness of lines provide his colors powerful respectacles and facial lines in paintings create full meaning of the context and soul without much unnecessary showmanship. Three women of the painting are depicted with sure-handed mastery of a fully realized painter. Presence of masks is another helpful prop for an audience though not much is needed by way of any explanation.

Pushpendra Kalra’s ‘Sparsh’ exhibition is a triumph of combination of sedate contentment and inherent kinetic energy of emotions. He archives a rare transcendence through steady familiar mode. Nowhere he gives an impression of resorting to gimmickry while maintaining a winsome controle over the mood and emotion of his audience. He is at the height of his powers. A worthy outing.
Note : SPARSH, the exhibiton of Drawings and Paintings by Pushpendra Kalra is on at AIFACS, Rafi Marg, New Delhi till 6th February.
************

Dhiraj Singh is a distinguished senior civil servant and currently serves as the Director of the Film and Television Institute of India (FTII) in Pune. He harbors a profound passion for the fine arts, including music, painting, films, and literature. Dhiraj has authored three notable books: Modern Masters: A Personal Pantheon - Music, Painting, Television, Literature; Modern Masters of Cinema, and a Hindi poetry collection titled लम्हों के पतझड़ (Lamhon Ke Patjhar).