A Global Dawning

Atul Dodiya is helping to put India on the modern art map, writes P.Ramakrishnan.

Forget about the pictorial clichés of India. Contemporary artist Atul Dodiya doesn't do snake charmers, elephants and the Taj Mahal in bright and vibrant colours. Instead, his oil paintings are subtle and introspective.

In Vishal, for example, he examines the simultaneous pictorial depiction of the interior and exterior of a given space, while not one sari-clad, poverty stricken soul can be found in Lodging in Somnath. In his multi-layered work series, allegorical collages are an amalgam of Dodiya's life, and he also known to have thrown in the odd social and political references.

The prolific Mumbai-based artist is in Hong Kong this week to give a talk on what inspires and shapes his work. Organised by the Asia Art archive, the Thursday event will also introduce his vast pool of works that includes installation, photography and painting.

Next Sunday, Lodging in Somnath will go under the hammer at Christe's autumn sale here. Only six months ago the artist broke his personal record when Vishal fetched HK$3.1 million at Christie's.

"We are no more a part of the Indian art scene, we're part of a global art scene," says Dodiya when describing Indian art and artists. "We feel a solid freedom. American artists, European masters, Chinese artists Japanese art - we can relate to all their work and it is visible and palpable in contemporary Indian art."

Born in Mumbai in 1959, the JJ School of Art graduate says local recognition of his artistic talent came only seven years ago. He says the country is still in shock that the art it produces can today make millions of dollars.

"Recognition [of my work] within the Indian community itself came late. Modern cities around the world have exhibited my works over many years, in New York, in Madrid, in Tokyo. For example, back in 2001, the Japan Foundation Asia Centre hosted a retrospective of my work," says Dodiya.

"It's only recently, when the media started reporting how well Indian artists are doing around the world, did a sudden emergence of interest in contemporary Indian art in India itself come about."

And it is often the money, rather than the art, that arouses interest among the elite in the country. Since Christie's launched sales of Modern & Contemporary Indian Art in New York in 2000, sales have continued to rise, with US$42 million in sales in 2006.

Tyeb Mehta's Mahisasura holds the world record at US$1.6 million, and modern and contemporary Indian art has its own alcove in galleries studded around New York, London and Hong Kong.

But people understand sales better than artistic themes, don't they?

"In understanding Indian art, there are two divisions generally; modern and contemporary. With a great influence of artists like [Pablo] Picasso and [Henri] Matisse in Indian art, the current generation of artists, including myself, look beyond our own borders," says Dodiya. "Contemporary artists, young artists have a world vision. It's not just the woman carrying a clay pot in a vibrant sari that you see on canvas any more."

Dodiya joins a steadily rising tide of artists whose work adorns the walls of many a grand gallery.

With the esoteric themes that dwell in his work, would a Hong Kong audience be able to fully appreciate his contribution? Dodiya says: "Why Hong Kong? Even among my own people, I deal with those who don't understand a piece for what it is. For example, one of my works is inspired by a Gujarati poem. Now, even if you're from Germany or Delhi if you don't speak the language or if you aren't aware of that paricular poem, not many will follow the source of the inspiration.

"But it hasn't taken anything away from those who've liked the work. Their enjoyment hasn't been short changed."

With a chuckle he adds "There are some pieces even my own mother looked at and didn't understand.

"One of my works was an amalgam of the birth of the river Ganges, superimposed with Nude Descending Staircase. Now, she got the gist of how Ganga was born through the head of Lord Shiva but all references to [Marcel] Duchamp were gone."

So even though his Devoured Darkness series might not be understood by all, he has no problems with that.

"I must tell you that I really enjoy it when a viewer comes to a piece without any preconceived thoughts," he says.

"I give a clue, a few things he can understand clearly, others he can't. If he doesn't understand the mythologies of Hinduism, the infinite number of gods and goddesses, their tales that are interwined with the theme of some of my art - for the theme and style is ever changing in my work since I was 11 - then that's just fine.

"How refreshing it is to hear what they have to say and see in my work."


Sunday, November 18, 2007 Sunday Morning Post