If we can’t, as artists, improve on real life, we should put down our pencils and go bake bread.”
— Barbara Kingsolver
Meera Gyanchand defies the notion that its too late for anyone to become an artist. Her resolve as an artist has been so strong that she has been preparing for her second solo show for the past two years. Her ghor tapasya seems to have paid dividends eventually as she has created a unique narrative around her works. Her works for her second solo show revolve around a very sensitive topic that we, as a nation have been witness to in the past decade or so, the treatment of women in our surrounding, be it discrimination of colour or more sensitive LGBT issues — Sensuousness, Silhouette and the Erasing Outlines, a solo show by Meera Gyanchand.
At her age, to think and to create works of such prominence is indeed commendable. The artistic creations of Meera Gyanchand are intentionally medium estimated, with a particular reason for not going to extremes of any sort. At first look, there are a couple of restrained or tamed creatures apparently connecting with untamed human figures. The people are subdued through freedom to express, however, what they need is vague. Subsequently, this collaboration between the two assortments of species has more under layers than what appears to minor sight. All figures are females and also nudes. Maybe a couple are even bare. The normal level and straight-shaded foundation fill in as a dynamic stage for the strange drama that happens between the living creatures. Frequently, they tilt the entire scene towards a group of onlookers, as though to pour their substance with certain criticalness. The connection and association between the people, different creatures and the foundation are not as normal as it may be in the unremarkable world. The human and different creatures are occupied with an unmistakable undecipherable diversion between each other. Diverse species as a rule can’t do this on level terms, while the craftsman makes it conceivable. Subsequently, the visual amusements played by the characters are sufficiently forceful to extricate their way of life as those having a place with particular sex and species. In the midst of all these, what emerges clearly is the unobtrusive, ironical arousing quality and prodding sensuality at play. Meera Gyanchand explains, “I have worked hard for the past two years to create a meaningful show and I am elated at the response it is getting. I have used the Raging Bull as a metaphor to depict today’s Man and to show the kind of fear this has aroused in the hearts of women.”
The show has been well-received by the art frat and the works definitely have an important message to convey. The show concludes at Chitrakala Parishath this Sunday.
