DUET OF SELF AND CIRCUMSTANCEAn examination of art works could do
with a look at the nature of the self that
creates them. Aft er all self and environment,
and self and art are inextricably meshed.
In other words, artistic expression refl ects
and unfailingly interacts with the overall
human environment. Th ere is a continuous
interaction between the two. Since, it is
obvious that our metropolitan culture is
changing at breakneck speed, the working
artists can perforce become creatures of
their circumstance, even while at that same
time trying to master it.
But, what better not change, is the name
and nature of art itself. If that happens art
would end up by being just anything. Indeed
today non artistic goals oft en masquerade
as art. It is only at this point one must put
ones foot down on artistic license. Not
every artwork may pass the test of art. Yes
the inclusion of images from the latest in
line physical or mechanical worlds are in
order, but still art works must conserve the
scent of art alone. Th e laws of art have to be
rigorously followed, else confusion follows.
As is evident from her works this
painter belongs to the age of mechanics
and instant communication. Like others
she too knows no ‘nature’ in its naive or
innocent aspects. Th e age has worked hard
on her perceptions. In this sense at least
her creative work bears the heavy imprints
of social change and uncertainty. Modern
reality? Th at is, of a reality violently
ambiguous; very bright, but also neurotic
as much as psychotic. But then, this artist is
critically aware and energetic enough.
In her works we see posed or stylized
women fi gures. And these many fi gures
come in several incarnations and in her
hands they become graceful. She retains
her humour. Her realism does not make
for dullness. Her hardware subject is
injected with her own playful vision and
idiosyncrasy.
Vinita confronts her subject matter
with involvement, and thereby redeems its
harshness. Th us her works provoke thought
in the viewer. She also arranges her colours
in such a way that the compositions would
seem to become lively.
In a sense the artist means not only
to please the metro eye, but to activise
it, to make it alert. Th e smell of our time
can be felt in her work by our noses. Th e
oft en frontally posed bold, quite cool in
demeanour fi gures are professionally
groomed to ironic eff ects.
So here is no sentimental or nostalgic
painting. Work which timid souls may fi nd
a trifl e unnerving, but one which will please
the mod.
In sum, the maker of these works is
ambitious, and so her present sally may
move on to quite another plane. Th at
would prove her continuing seriousness
of purpose, that of mastering her life
circumstance.