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About the Artist

A. Ramachandran is one of India’s most distinguished and prolific artists who has ceaselessly experimented with visual language for more than four decades. His art is both contemporary and Indian in essence. Painter, sculptor, graphic artist, designer and art educationist, Ramachandran has explored diverse mediums and scales, with a dynamic personal vision and distinctive artistic style. He began this journey as an expressionist painter exploring the predicament of human condition and misery, that too, on a monumental scale. Already politically sensitized by his early life in Kerala, the poverty and suffering he witnessed on the streets of Kolkata and subsequently in New Delhi moved him to produce grim contorted human images, literally representing human beings as headless entities. Suffused with social imagery, his early works re-enacted themes of exploitation, oppression, war, human brutality, and political violence.

A Rendezvous at the Lotus Pond

 “Under the British rule, the European norms became very important because they were the ruling class. Just as in the Mughal era their aesthetics was our national ethos. Nowadays we are usurped by the global culture. We’ve forgotten that we have our own specialties—in our dresses, our food habits, our appearance, our environment—we’ve our own cultural ecology. Hardly anybody thinks about it. We’ve folk artists, theatrics, costumes, and so much more. There was a time when each tribe had their unique costumes, jewellery, potteries, and architecture. We are losing all this. I believe that we should preserve our cultural ecology.” 

- A. Ramachandran

Read the ArtSquare Article

https://artsquare.in/Expertspeak/A_Rendezvous_at_the_Lotus_Pond/MTE0


Domains of Eco-Criticism

Feature Article in 'Art & Deal' Indian art magazine by Siddharth Sivakumar.

Siddharth writes about the recently concluded exhibition of the artist at Kochi.

"While upstairs, we discovered an angry young man with an interest in western modernism, downstairs we meet a
happy old man contemplating on his own cultural moorings. His large sculptural installation Bahuroopi and two large
canvases dominated the large central hall, through which one entered the exhibition on the ground floor. Other works were thematically distributed in the other two rooms. As one turned left from this room one encountered the Birth of the Palash Tree, wherein we saw the artist as a kinnara painting the world into existence..."

Read more:

http://artanddeal.in/cms/?p=1998