WHEN NOT TO WORK

WHEN NOT TO WORK

Although I believe that a creative artist ought to keep working, if only to be in practice, Life’s experience has convinced me that there are periods when one has to stop work and while away his time till the real thrust for working returns. The first of such occasions is, when one faces a mental blank, not knowing what to paint. Nothing comes to one’s mind – neither a vision nor a reason to take up the brush. It was very early in my art-career that I had such a feeling. I couldn’t paint as I had nothing to paint. I couldn’t gossip as I did not feel like it though there were friends around. And I couldn’t read though that could have been an option. But I felt I will be forcing myself for that even. So I decided to rather loitre. I walked down to India Gate and watched holidaying families and children(quite a few of them crowding around ice-cream vendors and balloon-seller even around pea-nut seller,  along with their mothers or father. It was quite relieving – the real life scenes. Boys and girls boating in the India Gate canals, expressly meant for it. And several other engaging sights.

But things took an interesting turn when one day I walked on till I reached the space in front of the National Gallery of Modern Art. On a sudden impulse I crossed the road and entered the NGMA, mechanically (or rather sluggishly) making for its galleries.  I didn’t of course know what was on display. But I spotted some works of Nikolai Roerich in one of the galleries.  They immediately (and immensely) clicked with me. The works seemed forever beautiful and timeless art (Nikolai Roerich had long departed from the scene of international art and intellectual interaction and his son Sweteslav Roerich had taken over the baton of Russian art and made India his home, having married the legendry actress and film-maker Devika Rani from Bombay Talkies, her former Indian husband Himanshu Rai had founded).

The few hours at the NGMA galleries proved to be a nutrient. I came back to my own ground. There was something to do – something that would be worthwhile and engaging and a means to move out of the blank spot I had gotten into.

The other occasion was when I felt exhausted, over worked as I was, preparing for a show that had been agreed to between me and Ashish Anand of Delhi Art Gallery of Hauz Khas Village, New Delhi. I was trying to meet a deadline and really not reaching anywhere. This was too painful and depressing at the same time. So I just walked out of my studio and straight went to the tea-shop for gossip and tea (I knew some of the fellow artists will be there already gossiping). This proved to be a healing balm. I of course did not continue paining that day though the weather was fine and cooperative. I also gossiped with my family at dinner that evening with good result, as everybody felt I was in high spirits and responded whole heartedly, sharing my mood and my jokes. That was a good lesson indeed. I will never forget that day (and that evening with my family, of course).

The next day I was back in my studio with vigour an intent to move ahead. I really  produced an engaging work that day – a work that I still like to look at though it is no more in my possession. There was such spontaneous burst of energy that day that I could not hold myself but work and work till I got the image I wanted (it of course took some more days to give final touches to the work in overriding tones of blue)

These two instances taught me when to call it a day. And I have since that day worked in that mode.

BHAKTI (Devotion)

BHAKTI

(Devotion)

I have no pretentions about intellectuality. But I surely have my own opinions and my own views about things and the phenomena – things that affect an artist as a social being as well as a creative person.  It is my view that an artist’s social side could not be separated from his creative side. However, there is always a fine balance between the two as they unite within the same individual.

An expression of some of my views was put into print in the catalogue that was published for my Delhi Art Gallery Show at The Shridharani Art Gallery, New Delhi, in 199__. I was frank about what I thought or believed in though some thought that it was too early to express my views about things that are generally in the philosophical domain. However, even now, when I am considered to be mature, I think, what is philosophy if it is not part of your life and the thought process? I may be wrong. But this is what I think.

My own deeply thought view is that no creation is possible without being devoted to whatever one is doing. And of course, the concept of devotion extends to God or whatever the ultimate truth (as one might see it). Man is like the reed (of a flute) which does not produce music on its own. It is just an instrument, a means for creating music. It needs a Krishna, a player, who has music in his soul (it is to such a soul that both the Gopis and the cows are drawn to).

The flute has no share in the feeling part of the music, as it does not express itself. However, it lays down certain conditions like any other music instrument, as to what sort of music could be created through it.  And this fact is important (at least for the sake of keeping one’s ego under check (if it is allowed a loose rein, it might drag you out of the race course). When I work, I feel I am part of a consciousness that is entering a creative act through me. I have, as an individual, no pre-determined images to paint. So I can’t say that I have created this or that.  The process of creation has its own ways and demands and I am obliged to follow it (till l feel that the thrust has come to an end).The most I could say about my own contribution (of which I am really conscious) that on certain days and in a certain mood I might use a particular orchestra of colours – warm, cold or a mix of both, as it may work out. However, I am certainly obliged to follow the rules of the unknown (what a contradiction herein!)

Having given due weight to the oneness of being and the supreme being (whatever name others might give to the two aspects of existence) I am rather free to say that images and forms flow out of me as I delve deep into my work. Many suggestions, many discoveries emerge from the pursuit of the creative process. These have to be savoured and respected (as do viewers of my art). However, the final image is accepted/ approved only after I have felt a deep satisfaction about what has come up on to my canvas. This means that the image-dynamics has come to rest and it is now time to pause and then, move on.

I often wonder of course, about what has been created on the canvas. It gives me a  feeling of detachment at times and I wonder if this could be my handiwork. Besides this, I am sometimes, unsure of what has been obtained on the canvas. Is it a viable image, I ask myself at such times. But then I think that it is perhaps part of the creative process. There are of course no guarantees offered here. It is a flux in which an artist operates – from the beginning till he lays down his brush and rests his palette. But more of this later, may be. Of course, there is beauty in what has been created. I enjoy it through and through. I get lost into it at times. My own existence becomes zero. The image stands tall and domineering. It’s like an unbottled  Djinn, who is out to demonstrate its own power (and it has the hustles to do so). At that moment, I have the feeling that I must get away from it  if I am to retrieve my own identify (and it has to be retrieved of course. There are no choices here).

I do not know why I am obsessed by the “man and his shadow” imagery here – though not totally relevant to what I wish to convey here. The shadow of a man (or of any object) has the essence of the man itself in it (one can’t accept any other person’s shadow as his own). However, the shadow is not the man! But for getting back to oneself one must get away from the shadow. This, in a way, is a long drawn process as the world outside keeps on tagging one’s creations to one’s person – This is a Souza! This is a Husain !… and so on. The shadow refuses to leave you.

Another image that obsesses my mind is that of a bridge.  The river under it and the traffic over it are two fundamental realities (that is why a bridge is a bridge). One can’t imagine a bridge without a river (in that case a bridge will not be needed). And one can’t imagine a bridge minus the traffic (to facilitate which a bridge is constructed across a river). However, an artist is just a bridge, I feel. The river and the people itching to cross it are already there. It is of concise futile to question the origin of the river or that of the traffic. If not Hem raj then someone else will act as a bridge and the flows of both the river and the traffic will be maintained. So why let your ego act as a spoil-sport?

Some of my friends complained about my using the flute for explaining the place and situation of the artist. But I do not feel apologetic about it. In modern symbolism there is no place for humility. The money driven culture (or should I say, status consciousness) induces a certain amount of arrogance within the individual. Means are taken for ends. And a different ball game starts. I of course don’t wish to cross over to the other side (something which seems so natural and so easy today). I think, I have many more years for doing my thing (labelled as Art) and I must stick to it rather than deviate.

But I won’t do justice to myself if I do not say the last word. For what I feel is  that there is a vast sea of consciousness (call it universal consciousness, if you like) which envelops us and acts through us who are part and parcel of it and could not be imagined without it. It is co-terminus with space and time. It is forever changing and also driving the change (the reason why an artist feels like changing his or her line of work or approaches). I am ever happy to submit to it. And I am sure it would keep me going. And without regrets too.

(HEM RAJ)

                                       Thou....... Thou........

Given the fact that life has a strong element of mystery to it.Andalso given, that the artist is among the fortunate souls to be at thereceiving end of the transmissions of those invisible waves of themysterious.That which releases joy for the layman in the process isthe transliteration that the poet ,the painter ,the dancer awards tothe receptions of the enigmatic,the inscrutable.And the result is theinvisible string of elixir that is exchanged between the two.Theartist on one,the lover of art on the other.The paint,the brush andpalette,being the medium of the painter,And the painter himself beingthe medium of the invisible spirit permeating Nature.No wonder Hemraj experiences a perfect ego-less state while givingarticulation to his experience.It definitely came from his heart whenhe stated that the artistic processas it unfurls for him, takes him by a sweep and he comes to have anythought what so ever over it, only after the painting itself declaresconsummation.There is no interference of thought as long as he is in the process ofallowing himself being the medium.Moreover he does not have to callfor a decision according to his judgement to stop at a point.Ithappens on its own for him.The painting itself paroles him,releaseshim, to put it across in different words.The most delighting fact of the creative process that reveals itselfis the flow that erupts,goes on to acquire a momentum,a velocity wherethe analysis annihilates itselfand all, that is left to remain, is only the catalytic presence of himand his artistic gear, between the work and the energy above.Him beinga recipientof such an experience only comes out too strongly, when one is 'ru baru' i.e observing his works.The monumental in them replicates the cosmic,and seems infused withthe spirit of surrender.Surrender to the infinite force and powerabove,which overtakes any human endeavor by a deluge, provided one isreceptive to the flow,and allows it to take its own course.Goddefinitely has bigger plans for all of us,but only if we trust thesource beyond ourselves and let go off the interference.One meets witha similitude of surrender to the energy above, that Hemraj is guidedby,that comes our emphatically from what his works exude.The joy thathe is to be with,a very simple and happy soul as he came acrosstalking with absolute innocence about his experiences with paints andcanvasses.The canvasses as one goes closer, start revealing more, than theywanted to whisper in the first interaction.There are layers uponlayers ofsilent revelations that call for one's attention in the multi layeredpaint that he applies transparent at places and opaque patches in somesubtle forms,that are finally superimposed.The see through effect orthe transparency that is proposed calls for the eyes to go andexcavate the layers for the hazy mystery enveloped in there.Like a layer of a translucent glass encapsulating the esotericwithin,that reveals only partially,as if a replication of the sense ofmystical that this universe engulfs.He was born to be an artist,emerges from his early childhood when hewould inadvertently indulge in the exploration of creating beautyaroundhimself.And his very loving and passionate father who was fascinatedwith this revelation always tried to create convenience in thedirection towards the fulfillmentof his art.Infused with such a joyous curiosity that he once barged inthe examination hall of his child on the pretext of delivering histiffin much to the embarrassmentof Hemraj,who fills up with nostalgia recalling this.Hemraj loves anecdotes profuse with wisdom as they add to his owninquiry of life as much as they add intensity to his vocation,, whichfor the preoccupation with the queries of the occult, becomes aprocess of revelation where he finds himself drenched with the joythat partakes in the interaction.The silence and simplicity that hisworks are filled with is loud enough to knock one into that joyousenergy that he experienced.With the requisite receptivity at the endof the observer, the artist drowned in the passion cannot buthave it transfused or disseminated. Passion at the creative end of theartist cannot but fountain over from the frames to the fertile mindsaround.That's the beauty of the interdependence of the artists andthe lovers of art-the kinship of authentic beauty with the patrons ofit....Using rollers,brushes,knives with the flow of the impasto creatingrugged textures here and subtle ones there,the balance acquired isvisually delightful.The transparenthues awarded at some, along with the opaque at others creating aninteresting synergy there.The symbols of erotic forms that hesplatters subtly on the surface, that kindof pop out from the backdrop of the abstract mass of beautifullypainted compositions create a foreground as if providing depth to thelayers beneath.The act of painting is a 24 hr preoccupation as he admits to theinquiry of the duration of his work.Overtly difficult to accept butthe revelation of theprocess more than corroborates the reality of it.An artist ,acomposer,a musician,a dancer ,an engineer,a scientist all in all,allwho are indulging in theirvocation passionately,are not just spending the literal time that theyare actually with their creative pursuits,but their conscious andsubconsciousthat remains submerged in their preoccupation throughout.Thus duringthe hours of sleep, deep or scanty, the mind is at a heightened levelofcreativity.Almost all his works create that sense of powerful mystery with thetwo major layers that he creates,along with multiple more to unfurl asyou go excavating and just remaining still in front of thosemonuments.A peep is all you crave for beyond the little openings thatthey create the illusion of.As if just the granules of truth aresprinkledto ignite curiosity in the mind of a learner in his pursuit of theultimate truth,beyond those superficial layers carrying the mightyimport,calling and beckoning you irresistibly.The glow shining from beneath carrying the snippets of the mystic thatis captured in there.Under the concrete simple almost intentional childish line drawingswhich seem to have been used as symbols and been rendered opaque withflat thick layers of color appear not for no reason.A little longerrumination while observing the works brings it out like a flash of asimple discovery.The subtle impressions of the drawings of genitals onthe surface,lending to it an opaque ,and the in between stretches ofspaces with a major depth ,capturing a strong metaphorthere..Metaphorical for life perhaps !.Beyond the surface attractionsrendered in the opaque suggesting their symbolic significance asopaque,or circumscribed to just the surface level...whereas the vaststretch that, life is beyond that which takes away the priority focusof humanity at large,is deep and has layers and layers of discoveryand revelations to unfurl !Hemraj titles his works with the spiritual flavor of "Thou,Thou..."anrevolutionizing emission from Guru Nanak Dev .And thus Hemrajfeels"today's world is the cruel victim of the very idea of 'mine',the sole source of conflict in every walk of life. Aggression,violence, bloodshed vast destruction … are just the net outcome ofgoing by the idea of 'I' and 'mine'. The path Guru Nanak showed ismost relevant in today's world...”. 'Thou… Thou… 2012” is a humbleattempt to counter the “I” and negate the idea of “mine” for the sakeof World peace. I feel that paying tributes to Him is an unlimitedexercise in man's expression of his gratitude to his Creator, who isboth the doer (Karta) and the deed (Karma) that results in themanifestation of His Will".An artist if he has succeeded in creating visual spaces with appeal ateffective application of his medium sans recognizable forms has quitepossibly succeeded in capturing the mystery of life ,unless it is afake attempt,which anyway cannot continue to convince for long.Truthcannot be suppressed for long for sure.For as long as he hasrecognizable lines or forms at his disposal he is attemptingcommunication within the demarcations of the legible human or visuallanguage.But to come to a point of rejecting all cliched vocabularyand taking on that which is insuperable within and conveying frombeyond the horizon of words is task of courage.That dawns fromconviction,and pure passion.Bhoomika Jain