Matters of with Paramjot Walia
You were the organizing force behind “Expressions at
Tihar”. What motivated you to do that?
AN: “Expressions at Tihar” is very special to me. It was my
first major art project, and spanned about three years. The
artists gave their whole-hearted support. The gap between
the culminating exhibition and a particular artist’s visit was
so long that he had forgotten about the exhibition happening
altogether! The motivation for the project came from the
Tihar Jail inmates themselves while interacting with them in
the course of the project; they did more for me than I did for
them. I got a lot of support from my family and, much to my
Gandhi’s role in society pre-independence, in contemporary
times and in the future.
Ojas Art does a variety of shows from modern to
historic to photography etc. What is the reason and line of
thought behind it?
AN: As I mentioned, I have many interests and Ojas
Art is a corroboration of these many interests that I have.
When I started the permanent space, I was very sure that I
did not want to get slotted as a gallery that showed only a
certain kind of art. One thing I consciously stay away from is
“Freedom to March” bring any sales for the gallery?
AN: The sale proceeds from Expressions at Tihar were
given to Tihar Jail and back then, in 2009, it was the highest
fundraiser for the Tihar Jail Welfare Fund ever.
What do you hope such shows say to people?
AN: Both the projects you mentioned were about giving
people a different message. “Expressions at Tihar” had a
very strong social message. It was a way of employing the
arts for effective reformation and rehabilitation. It was also
about thinking of inmates as human beings. I still remember
people walking into the gallery and commenting, “Oh, wow!
I cannot believe that a jail inmate can make such a good
painting.”
“Freedom to March” was more of a rethinking on Mahatma
AN: I think we are going through a metamorphosis as the
“market for art” is still very young. It will take its own course.
I dislike comparing the Indian art scene with its Western
counterpart as ours is an infant market and the American
and European markets are very mature.
Your favorite get away place?
AN: Banaras. I am completely in awe of that city. I just
love the energies there and feel completely recharged on
visiting there.
If not a gallery owner, what would you have been? Why?
AN: I come from a family of jewelers so I am also a jeweler. If
not a gallery, I think I would have been happiest working in the
development sector. A lot needs to be done to take our country
ahead. Honestly, being a gallerist doesn’t stop me in any way…
“cutting-edge art” (pun intended).
The independence to show
whatever I want enthuses me.
The gallery shows antiquity,
manuscripts, classical photography,
absolutely contemporary
works etc. When we were in the
designing stage of the gallery, my
one line brief to the architect,
Deepak Kalra, was that the gallery
space should be able to carry off
something as traditional as a
Tanjore Paintings show to a video
art show with the same ease.
Which is your next show?
AN: In November, we have “In
the Open” by K.S. Radhakrishnan,
focusing on his large-scale works.
I am very excited about the show
as it is our first major sculptural
show.
What difference would you
like to see in the way the galleries
and the Art world (in India)
functions?
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