"In epic story of Mahabharata, Gandhari chooses to remain blindfolded after her marriage to the sightless Dhritarashtra. In Ramachandran’s hands, she becomes a provocative visual device, earlier used by him in the painting of that name. Gandhari leaned more on mythological references than the present sculpture does. This imposing work is imbued more with the interplay between the two primeval mothers than is contained in the original text and belongs to the realm of the artist’s imagination."
Excerpt taken from 'Bahurupi: Interpreting Myriad Forms' written by Rupika Chawla and published by Vadehra Art Gallery, New Delhi, 2009, p. 16
Rupika Chawla is a conservator of paintings and art critic who curated the artist's retrospective at National Gallery of Modern Art in 2003. She is the author of two extensive studies on the artist ('A Ramachandran: Art of the Muralist' and 'Icons of the Raw Earth'). She has been writing regularly on contemporary Indian art and between 2001 and 2004, wrote a column on it in the Indian Express newspaper. Her forthcoming book is a detailed and authoritative study on Ravi Varma and his art.