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Colours of Asean

An exhibition in the Capital reveals the close-knit artistic expressions of South-east Asian artists

When a group of 25 artists from Singapore,Cambodia,India,Laos,Vietnam and other South-east Asian countries arrived in Darjeeling in June last year,some of them were apprehensive,others fearful. “My mind was blocked and I was afraid that I would not be able to find my way around the place,” remembers Nataphon Na Nakorn from Thailand. Armed with paints and brushes,the artists roamed the hills and interacted with people for a week — and gradually became aware that the locals’ culture was quite similar to their own. Fifty works of art emerged out this interaction,sporting motifs such as tea,bamboo,and the iconography of Buddha. Forty-four of these works are on display at Azad Bhawan in an exhibition titled “Merging Metaphors”.

Organised by ICCR,the residency and the exhibition celebrate the decades-long solidarity between India and ASEAN (Association of South-east Asian Nations) countries. “In recent times,we have been looking westwards,rather than east. This exhibition is a way to look towards the east,in a contemporary manner. It’s a part of India’s ‘Look East’ policy,” says Sushma Bahl,who has curated the show with architect and art consultant Archana B Sapra.

“Merging Metaphors”,as the title suggests,is an interesting assimilation of techniques and themes that the artists — eight are from India and 17 from ASEAN countries — have experimented with. Quek Kiat Sing from Singapore has merged the motifs of bamboo trees — calling them “gentlemen plants” as they are symbols of humility and uprightness — in traditional Chinese painting technique,while Saykham Oudomsouk from Laos has found parallels between the Champa flower of India and the Jumpa in his country. The Buddha appears in many techniques and forms in the works of Nivong Sengsakoun from Laos and Thawul Praman from Thailand.

“Selecting ASEAN artists was complex as we don’t know much about their art. Once we shortlisted them,we thought it was best to go away from Delhi. For a majority of them,this was their first visit to India and they were all apprehensive. But they related with a system that depends on agriculture and the terrain among other factors,” says Bahl.

Among the Indians,Seema Kohli’s Golden Womb series recreates the cycle of life through rich imagery of female deity-like figures. Tapas Sarkar picked up a parrot from a zoo in Darjeeling,and recreated it in a Kalighat painting style,while Binoy Varghese uses the idea of migration in his lonesome female figure titled Refugee in Own Land.

The exhibition is being held at

Azad Bhawan,ITO,till July 4.

Contact: 23379309

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