New-Age Miniature
Meenakshi Senguptas first solo show explores new mediums and themes
It becomes apparent after a first viewing that themes of fertility,masculinity,sexuality and the perceived fine line between eroticism and vulgarity form the basis of Meenakshi Sengupta’s art. But contrary to the most common manner in which such subjects are explored,Sengupta’s work does so in a fashion that is often subtle and suggestive as opposed to imposing.
In her paintings,the Kolkata-based artist references various techniques of miniature painting,yet,besides the form,there’s little in common with traditional Indian miniatures. “While in college (Government College of Art and Craft,Kolkata),I had to work with an Indian element of art,” she says. She chose to reference miniatures. “I like the technical and visual part of miniatures,” she says. “They are grounded in mythology,but I’ve transformed it into something relevant today,” she says. At her debut solo show,titled “Flavour Chart”,at Gallery Maskara,Colaba,Sengupta is showcasing a collection of these paintings,as well as two large LED works and one multimedia piece.
Placed on a wall facing the entrance of the gallery is one of these LED works — circular,with the words “Jai Ma Shashthi” flashing around its circumference. A Hindu goddess,people worship pray to her for fertility and protection of children. These is the first LED work Sengupta has ever made and exhibited. It arose from a general fascination for the material. “In Kolkata,they make these LED works to celebrate any festive mood and I used to see them everywhere,” says the 26-year-old artist.
Of the 16 paintings on display,some roughly form sets — one of five different paintings with five different kinds of moustaches and a set of three,one depicting a pregnant sakhi titled Krishna Paksha,the second with a contraceptive pill at its centre,titled Goli,and the third centering around an abortion certificate,titled Khallass.
Then there’s the lone-standing Popular Tracks,a comment on the perception of vulgarity in society. A singular tree stands at the centre of the painting,with a megaphone each to its left and right. Out of the left appears to emanate a popular Hindi song,and from the right,an unknown Bengali song,written by a young man from a desolate part of Bangladesh. Both contain fairly racy lyrics. “I can’t play the Bengali one in my house,but I can play this one,because it’s been written by Gulzar,” says Sengupta,pointing at the words that read ‘Bidi jalaile,jigar se piya’.
While “Flavour Chart” is her first ever solo show,her second exhibition in Mumbai happened at the inaugural edition of Gallery Weekend last year. Her current show continues till September 28.
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