Harmony of the spirit to be displayed at the India Art Fair

The shapes and characters of Sudip Roy’s paintings move against a huge area, much like a landscape. Such satisfaction can be found in the handling of the paint itself. The figures move around like tourists in a picturesque landscape, observing the scene, or as explorers and commentators. Paintings on aluminium, spray paint and acrylic, canvases with stainless steel embossed in the middle; the painted space resembles that of an interior, frequently glistening with light; the harmony he creates of tensions, ambiguities, volume, light, and elusive moments.

Unlike his earlier watercolours, which were done early in his career, these paintings mark a language that adheres principally to the heritage of gestural painting. The visual stares at us, demanding that we make a will of it, despite the fact that it was created over a period of time to reveal its secrets to us as a viewer. Our eyes are denied the pleasure of travelling to a clearly defined vanishing point; we are constantly drawn back to the surface as illusionism is fought by the application of paint, and the untranslated stars become a total quiet. It is the use of paint in all of his paintings that is crucial; perhaps it is the diversity and repertory of colours, ranging from the still to the exuberant or jubilant, that gives the canvasses a pulsing life- the strength and allure of the images.

The impressive participation of Aakriti Art Gallery, led by Vikram Bachhawat, at the 13th edition of the Indian Art Fair, as it has done in previous editions, demonstrates the gallery’s commitment to serious and important endeavours. When considering what the gallery has previously presented, it is clear from its exhibition histories that the gallery’s policy has always been one of respect for senior and established talent, as well as the identification of new promise through well-curated exhibitions. We already know that it has taken great care to present Indian art in a logical and balanced manner through exhibitions such as ‘Gen Next.’ Though it has mostly focused on Indian art, it has also featured noteworthy works from other countries on a regular basis.

This year, the gallery’s booth features works by Sudip Roy, who has contributed to the development of modern art. The work on display here exemplifies a fantastic technique and spirit that elicits a conversation that not only challenges our own notions of culture but also affects how we perceive ourselves in the present. What Sudip Roy achieves here is a respectful pleasing mélange- he depicts them with extreme compassion and candour, each has a lively individual approach, and each assures significant portrayals of modern trends.

Markers and ground have become synonymous in these paintings and sculptures, such is his confidence in his act and vision as the imagery is battled for by the surface and the seeming depth. Sudip considers his work to be manifestations of the sublime and truth. Sudip has always been conscientious with his appearance. His would be viewed as a quest, or a struggle, for the truth. There is immanence in them, a presence that may be both menacing and evocative of enlightenment.

The imagery’s intensity and interest may attract our attention away from the background or field against which they stand, yet the background, with its many inflections and nuances of paint handling, frequently carries the majority of the painting’s significance. The buoyant shape is not made clear in his sculptures that exhibit any final form, the edges highlighted and the shadows indicated of a wave- that hooks up with investing around in the sculpture with what is illusory or what is real, the true shape and form.

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