Seventy five-year-old Rameshwar Broota has a quiet presence. He sits in his meticulously maintained studio on the second floor of the Triveni Kala Sangam and speaks in a low, subdued voice. But there is nothing subdued about his work. It is cerebral. Hardhitting. Akin to a killer picking up a hatchet and slicing his victim&rsquo;s skull in two. The primordial ape fighting for his space in the forests of the mind is part of the &lsquo;Ape&rsquo; series. This gives way to the &lsquo;Man&rsquo; series where desolate and vulnerable men are shown trying desperately to survive in the isolated spaces of our urban deserts. And then, he moves from this karmabhumi to explore the inner and external sinews of the human body. Heading the prestigious Triveni art department for the last five decades has given him a vantage view of just how Indian society and art have evolved after independence. &ldquo;I joined Triveni Kala Sangam in 1967, more than 50 years ago. When I joined, the institution had just been built and the art department was set up. K.S. Kulkarni, the artist, was heading the Triveni art section, but he moved on to join the art department at Benaras Hindu University and I was brought in,&rdquo; he recalls. Talking about the way art has evolved in these years, Broota says, &ldquo;The sensibility has changed very fast. At that time there was no internet, no exposure to the west. Very few artists went abroad. Artists then were working in the traditional (mould) and also doing abstract art. But then gradually, with the coming of the biennales and the triennales, Indian artists started experimenting and started working in different materials, including in the area of installations.&rdquo; Broota says, &ldquo;I came into the art field with no background in this subject. I fantasised about joining the military or the police force, but I was also fond of sketching and my brothers encouraged me to join the Delhi Polytechnic (which subsequently came to be called the Delhi College of Art). I worked hard and was a college topper. Following my graduation, I taught art at the Sharada Ukil School of Art and at the Jamia Millia Higher Secondary School and then became a visiting lecturer at the College of Art.&rdquo; Joining Triveni at a salary of ₹350 per month was very special for him, he says, &ldquo;because I got a large working space and a great deal of freedom. I had to teach for two hours a day and could continue to work in the studio after that,&rdquo; he informs. The young Broota went through the usual obstacles artists face in order to establish himself. &ldquo;My paintings did not sell. I had to borrow money from my sister and other family members to buy canvas and paint. It&rsquo;s the usual story,&rdquo; he says, in his typical, understated manner. But then he goes on to elaborate how several years later, despite having established himself as one of India&rsquo;s top artists, he continues to stretch his own canvas so that it can arrive at the kind of flexibility he requires in order to set paint to canvas. &ldquo;I prefer to use a large canvas. For me, a large dimension is important. I have my own way of evaluating a painting. If a (large) painting is strong, it will magnify itself. If a painting it small, it too will magnify itself. For me, the visual effect of a painting is paramount&hellip;the scale is according to the size of a human body. It is as though you are face to face with something exterior, something you have faced, something that is an overpowering experience. The message (of my work) is very clear for whoever looks at it,&rdquo; Broota explains. The point was driven home by him with the recent holding of a major retrospective of Broota&rsquo;s works titled &ldquo;Visions of Interiority: Interrogating the Male Body&rdquo; held at the&nbsp;Kiran Nadar Museum of Art in Saket. Broota says, &ldquo;Over 50 of my wall size paintings were on display. When I saw them I asked myself, have I actually done so much work? I&rsquo;m a slow painter. It takes me anything between six months to one year to complete a painting. When I was younger, I used to do around five to six paintings a year. On an average, I have never done more than five.&rdquo;<img src="http://magarticles.magzter.com/articles/10566/206374/588f2cbf2aee2/1485778014731.jpg"" owidth=542 oheight=342" style="height:379px; width:600px" />The reason for this is not difficult to find. Broota is an extremely demanding artist. After stretching a canvas, he will spent a long time applying colour and then using a razor blade to ensure the canvas gives him the right texture and throw up the right colours. He has perfected this unique technique, in which he first applies layers of different coloured paints on the surface followed by a final coat in a dark colour and then scratches and scrapes away the upper layers of the painting with a sharp knife, to literally unearth his luminous images. Speaking about how a painting evolves, he says, &ldquo;When you write a poem, you have no subject, you can start with a line and then suddenly it goes on and on. In the same way with a painting, you can start with a sketch or a photograph aur phir banti cheli jayegi.&rdquo; Broota says there is always a link between his paintings unless there is a change of medium. &ldquo;The thought process is the same. My own vision is reflected in my work. My work is related to my own inner experiences,&rdquo; he says, adding, &ldquo;There are variations in my work. I did a series around a poor labourer and his struggles, the ape series, another on our corrupt bureaucrats and how their ill deeds have caused the poor to suffer. I have tried to depict men through their ages,&nbsp;their struggles, their fight, their instincts and also tried to show the innate strength of a human being. My attempt is to show that man is the same whether he lived in pre-historic times or today.&rdquo; Broota works with a monochromatic palette, a minimum amount of colour. Pointing a large canvas where the paint appears like that of the faded spots of a leopard, he says, &ldquo;This is a fossilised image of a soldier,&rdquo; Broota explains. A canvas facing the large study table from which he works in his studio, he says, &ldquo;This is the stretched skin of a dead animal. I am trying to convey the contours of old leather.&rdquo; He is also good at photography, an art form that he has explored in great depth. Broota says he picks up the camera only when he is not painting. At the time he paints, he does not take pictures and vice versa. He also maintains he is a slow photographer taking a lot of time over the pictures he shoots. What are his views about how prices of art work have skyrocketed during the last decade. &ldquo;The prices of around 30 artists or so have gone up. The other artists have not been affected. The younger generation still has to struggle,&rsquo;&rsquo; he says. Nor does he think demonetisation has affected the prices of artists belonging to this top-ranking group. And does he find the Indian art scene vibrant? &ldquo;No,&rdquo; he replies with a touch of sadness. &ldquo;The art situation here is not vibrant at all. When you travel abroad and visit their museums, you find so much is happening there. Go to their triennale and there is so much variety on display. We need a much greater awakening in India. We also need more support and more money if we want our art to become more vibrant,&rdquo; Broota concludes.

Larger Than Life

English

Spanish(español)

Bengali(বাঙালি)

Gujarati(ગુજરાતી)

Hindi(हिन्दी)

Malayalam(മലയാളം)

Tamil(தமிழ்)

Telugu(తెలుగు)

Art Soul Life

Gone too soon

TRANSCENDING BOUNDARIES

Symbols of NATURE

BETWEEN DREAMS AND ILLUSIONS

FINAL SHOW OF THE CHAOS TRILOGY III

ALIGNING Paths of Eight Artists

Celebrating Subtlety

ENGINEERING THE ARTISTIC VISION

LINES, LANDSCAPES AND LUCID TOUCH

CASTING PHAD IN NEW MOULD

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