Saturday, August 29, 2009


SAHMET is organising an exhibition of 8"x10" paintings by artists known and unknown. This is for M.F. Hussain, whose 94th birthday is on the 17th of September. I got to know of this very late, but just had to paint something because I love M.F. Hussain.

I thought I'd mimic his way of abstracting personality through details of dress or appearance, minus the features. Therefore the white hair, and the glasses. Then, I wanted to bring in his film poster painting. Finally, I thought I'd put in these lyrics because they capture exactly what I feel very often: Ik khwab se dekha hoon, tabeer nahin banti... tasveer nahin banti. (I keep trying to paint a picture, and the picture doesn't get painted. I have this vision, but it refuses to be put down on paper.)

For Hussain, in exile in a faraway country, with love.

Monday, August 17, 2009

Celestial Critters

I love the ideas people come up with for swap-themes. This one was about "animal guides/power animals". I thought that mooshikan would fit the description: just think of the poor fellow having to carry that elephant-headed tub of motichoor laddus about. Then I thought, hey, let me do the vahanas of the gods and goddesses. I wrote the slokas with my Micron pen, and the pictures are watercolours. Couldn't find a good sloka for Yama's buffalo, though. The elephant is supposed to be Airavat, by the way. The first case of a white mammal growing colourful in his old age.

Tuesday, August 11, 2009

I, Me, Myself

Here are some self-portraits I did recently. Watercolours on handmade paper, the first from an old photograph of how I used to be fifteen years ago, and the other two painted from the mirror. They were both painted at the same table, lit by the same window, just a couple of days apart. I swear. Maybe the brown portrait is the true one, because it shows my inner self: a self well-hidden under ten extra kilos.

Thursday, August 6, 2009

Peter Max Inspired

I discovered Peter Max through this swap in his honour. Most of Max's bright and colourful work was evidently done in the 70s and 80s. Maybe Max' childhood in Shangai was what whooshed his work with colour. He uses lots and lots of pure colour; no blending, no mixing, absolutely no limits on the palette.

Here are my paintings, all in watercolour. I was apologetic about them being in watercolour and therefore not quite as bright as these photos show them to be... the max that wasn't possible, was the way I put it, and I love my dreadful pun, so there. However, after looking at some of the artist's watercolour work, I think I haven't done too badly with the colour. Only acrylics could be really truly gaudy.


Lotsapotsaluv (Yesssssss!!!)

The Oranges Swimming