Oil on Canvas
UMESH P.K Born 20 August, 1984
It is innate to the pattern-seeking human mind, that putting everything in front of us into the linear structure of language in order to make reliable, coherent, verbal narratives. So there is a demand to articulate/ to interpret the visuals all the times. This set of works is an attempt to meet this demand by searching the possibilities of a visual articulation within the work, instead of a verbal articulation. All these works are feeding a concept of transforming the gallery into a temporary museum and setting a visual account of an imaginary historical period. Here Paintings and drawings together set an elaborate pictorial fiction and fake material culture ( an assemblage of artefacts seems to be from a definitive space and time) will liberate the visual narration from its two-dimensional pictorial space and accentuate the fiction to a reliable account. Characters and backdrops in this fiction collectively construct a world of mythopoeia. They spring out from a realm beyond our reasoning ability and allow me to hover in the sky of imagination. Each painting is an episode from a personal myth. They never born out of thoughts rather they appear themselves out of blue as sudden visions. Though the genesis of the characters remains anonymous they draw an interrelationship between the works and make them part of a larger narration. By and large, Myths are said to be a departure from reality or as a subversion of history. In contrary to such assumptions myths are entwined with the deepest structure of our psyche. The paradoxical relation of myth and reality does not exist in its deeper level and in other words reality cannot be perceived as it is by our intellect. In order to overcome this condition, we construct different realities according to our convenience. So all representations are fictions in which our perception is confined. Museums do showcase the material culture of human societies in past, they are evolved as a part of the construction of histories. Spatial-temporal transportations of artefacts make them irreversibly away from their original contexts and produce a fictive account of plausible history. The act of converting the gallery space into a museum-like space is an attempt to explore the possibilities of converting paintings and drawings which have been by and large considered as the most conventional forms of visual art into an installation and redraw the conventional boundaries of genres such as painting, drawing, sculpture and installation. Here the gallery is turning into a temporary museum where one can purchase the fragmentary account of an imaginary history.
Courtesy of Umesh.P.K, Roy Thomas.