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In 1963,
the British paper tycoon, Lord Beaverbrook, envisioned an art
exhibition which would change the lives of many artists. Beaverbrook
called on renowned art historian and critic John Richardson,
to come up with the names of the top 100, living artists of
the time. A gargantuan task if one takes into account the fact
that Richardson, along with Sir Kenneth Clark, the former director
of the London National Art museum, and Alfred Barr of Manhattan's
museum of Modern Art, had shortlisted over a 1000 artists from
all over the globe for the exhibition. Not only did they have
to look at photographs of each of the artist's works, but Richardson
personally visited many of them.
100 artists
were eventually selected to display their masterpieces. Time
magazine reviewed this exhibition which was slated to be second
to none. They listed the big names and made a one-line mention
of a then little known Indian artist named Mohan Samant. Samant
had come of age and from then on there was no looking back.
Magazines splashed him on their covers, and multi-page reviews
ensued. This young man who studied art in Mumbai's JJ School
of Art, had stormed on to the international art canvas.
"My art
is almost like installation art. Only difference being that
my installation is within my frame," said the artist, while
talking to Bombay Times. "At night I do a large number of wire
drawings. I then proceed to fit them like the pieces of a jigsaw
puzzle on to the canvas. I never know what it's going to look
like until I'm 70 per cent of the way through."
Samant
has spent the last 40 years in New York, barring a couple of
years which he spent in Italy. But he considers himself an Indian
through and through. A sarangi exponent, Samant's music occupies
a large part of his heart. When asked about his style of painting,
he says it's Indian. His heart is Indian. "You can't play Bach
or Beethoven on a sitar, now can you?" East is East and West
is West and never the 'twain shall meet.
"Art is
not entertainment," said Samant surprisingly. He then explained,
"Art is a thought process. When one paints or makes music, it's
an extension of the mind. It is hard work. Mind-draining. It
requires passion and love, not frivolity."
His opinion
on the state of Indian art is iffy at best. "India has an enormous
store of artistic talent." Abroad, especially in New York, there
is quite a large market, not to mention a hefty respect, for
Indian artists. "There are a few galleries which only exhibit
the works of Indian artists. Installation art seems to have
taken off in India, but I am not a great fan of installation
art."
His
reply was curt when asked about the level of appreciation for
art amongst Indian art buyers, "Art buyers from India have one
major drawback, they prefer to buy art that's rare or has a
famous name attached to it. Quality is no criteria. This hampers
the artist rather than the buyer." He is also of the opinion
that art and industry should be kept separate. "The integrity
of art is fragile, industry is a sledgehammer."
Samant
felt that though New York is now considered the hub of the art
world, it wasn't always thus so. Mumbai has, according to him,
that very same potential, provided the talent is properly channelled,
and art is promoted in a professional manner. Mohan Samant is
of the Shavian mould. He sits with eyes that reflect a past
steeped in artistic equilibrium. Mohan Samant is an artist and
he knows it. His art shimmers effort. But an effort inspired
by the heart and mind, rather than any commercial ramblings
of the practical artist. bombaytimes@indiatimes.com
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