My paintings as one may call are
basically concerned with human figures.
Mythology and religious stories nurtured my childhood. Thus
while I grew up, the contemporary world is projected through
the specs of my early memories.
Primarily I painted the natural scenes fairly closed to how
the eye would see it. In slow degrees as my facility in
painting grew and as my knowledge of what comprised
categorical structure in painting got defined, I sought to
make a more truly personal And individual communication. I
am not content with delineating what could be seen and
sensed rather than with evoking what is deeply felt, what
lay buried in memory and in the body of feeling.
Gradually the world around me fuses, blends, welded with the
past memories which tries to burst out from the embryo
destined for the foreground. Distinct with its own life and
colour; independent of it and yet melodiously accompanying
it. In other words, form and colour, though separated from
each other could coexist independently on the same picture
surface. The forms are very close to realism yet the given
space seems to be deconstructed in terms of those forms.
These may be asset of conventional vocabulary and not an
attempt to render and intense version of distortion. These
are simply an attempt of modification of natural appearances
in order to arrive at intense expressiveness of realism.
The use of colour in painting is almost synonymous with the
purposeful use of colour in signalling systems. My own
experience as a painter teaches me that colour exists on
three planes, the first plane between the viewer and the
canvas, the second beyond the canvas, and between these two,
somewhere where the canvas stands the third plane exists.
Then there are certain invisible area where the eye doesn't
touch, which are the areas of silence, and these are the
most elegant. The problem is not one of colour organization
but of colour circuit. Where nearness and distance are not
determined by proximity. A red linked to a distant blue,
ignoring the adjacent orange. Assigning the canvas to an
approximate distance from the viewer, not measurable,
because tone and colour are travelling in space. In this
context I felt a need of a change.
By the word 'Change' I did not mean a refuge but an other
course of exercise, during this transitional period of mine.
A fragmentary appreciation of the formal beauty of a scene
is not what concerned or impressed me. I feel that the
central problem in self-expression, in terms of painting, is
to arrive at an estimation of what constituted in my total
vision. I feel the need to define the experience of a
time-span to reflect values which are contemporary in art
but also perennial and transcendent in nature. As an ideal
spectator, I sought to state my commitment to interpreting
natural phenomena with a pictorial vocabulary which was the
product of an process within the self, and is intrinsically