Rashmi Rajgopal tries rebuilding the image of the artist and sculptor and asks readers to add in their pieces as well
A photo of Mrinalini Mukherji by Manisha Gera Baswani
How do you create an image of someone you have never met before in your life? Instinct would drive you to read about this person, or speak with people who knew her. But if you’re looking for something more impactful, simply attend a memorial service being held for that person.
On Friday, February 6, visitors flooded the National Gallery of Modern Art in New Delhi in remembrance of acclaimed artist and sculptor Mrinalini Mukherjee. The NGMA, currently holding a retrospective titled “Transfigurations: The Sculpture of Mrinalini Mukherjee”, held a memorial service for the artist who, aged 65, had succumbed to a prolonged lung problem last Monday. Among those who spoke fondly of her were Professor Rajeev Lochan, director of the NGMA; Peter Nagy, curator of the ongoing retrospective; critic Geeta Kapur; and some of the artist’s close friends whose messages were read out during the service. As Professor Lochan put it, “It was a tragic irony that Mrinalini was hospitalised just a day before the opening of the solo exhibition and that she could not see the impact it had made on art lovers.”
A photo of Mrinalini Mukherji by Manisha Gera Baswani
It’s possible that visitors at the memorial were drawn there owing to a deep sense of respect for the artist and her work. It’s possible that some among them were present out of curiosity and, perhaps, were in the dark about the artist. Who was Mrinalini Mukherjee? Why did she matter? What legacy did she leave behind?
For those who knew her, Mrinalini was a woman with a powerful personality, and an emblem for women artists carving their paths in the art world. Over the phone, artist Shukla Sawant spoke of how revolutionary Mrinalini was, as an artist and person. “She had an astonishing personality and lived life on her own terms. For my generation of artists, I think this is very important,” said Shukla.
Mrinalini came from a lineage of artists. Born in 1949 to the illustrious artist pair Binodebehari and Leela Mukherjee, Mrinalini did not let their success overshadow her career, and grew to become a fearless and unconventional artist. She studied painting at the Faculty of Fine Arts, M.S. University, Baroda (1965-1970). While there, she discovered hemp fibre and it featured frequently in her sculptures. By choosing to use this unusual medium, often dyed in vibrant shades, she imbued her works with a rare sensitivity and grace of form.
Van Raja (King of the Forest), 1991-1994, Collection: Kiran Nadar Museum of Art Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Aranyani, 1996, Collection: Jhaveri Contemporary & Nature Morte Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Vruksha Nata, 1991-92, Collection: Kiran Nadar Museum of Art Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Works like Vana Raja, Aranyani, and Vruksha Nata offer a window into the artist’s meticulous mind. With incredible attention to detail, Mrinalini has breathed into them a striking semblance to organic motifs. Every fold and contour has a restrained elegance, yet appears robust.
While hemp carried with it a certain flexibility, she also worked with ceramic and bronze. Her choice of mediums symbolised a gamut of personalities. Ceramic offers a brittle resilience, and bronze possesses a more obstinate strength in its form and nature. Mrinalini’s sculptures were sensuous: they drew from organic forms and resembled plant motifs, but also bore strong sexual undercurrents. She opened a new avenue through her choices and imparted each work with a layered personality.
Forest Flame IV, Bronze, 2009, Collection: Jhaveri Contemporary & Nature Morte Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Orange & Green, 2000, Ceramic, Collection: Jhaveri Contemporary & Nature Morte Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Matrix 4, 2006, Bronze, Collection: Jhaveri Contemporary & Nature Morte Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
Flora (light), 2000, partially glazed ceramic, Collection: Mirchandani & Steinruecke Part of “Transfigurations: The Sculpture of Mrinalini Mukherjee” Courtesy: The National Gallery of Modern Art, New Delhi
“Transfigurations…” features some remarkable sculptures and encapsulates the legacy she has left behind. Her works are also part of many renowned collections both in India and abroad, such as the NGMA in New Delhi, Bharat Bhavan in Bhopal, the Lalit Kala Akademi in New Delhi, the Chandigarh State Museum, and the Tate Modern in London.
Mrinalini’s image is far from complete. If you’re reading this, do acquaint yourself with her works and add in your own pieces. We may never get close to building a complete picture – the task is too monumental. But we would be adding to a bigger, richer memory of what she aimed to show the world.
At the Kochi-Muziris Biennale 2014, Saffronart is supporting acclaimed artist Manisha Gera Baswani in her project, Artist Through the Lens, sponsored by the Kiran Nadar Museum of Art. Rashmi Rajgopal speaks with Manisha on her project and its evolution.
On 13 December, Fort Kochi brimmed with activity as participants at the Kochi-Muziris Biennale 2014 scuttled about, preparing for a long but exciting second day. Curated by Jitish Kallat, the second edition of the highly-acclaimed event is titled “Whorled Explorations”. It had kick-started the previous day, with chief minister Oommen Chandy inaugurating the event.
Artists from around the world have rallied to Kochi to display their talents to discerning and enthusiastic spectators, who will flock to the centuries-old port city till the end of the biennale: 29 March 2015. For artist Manisha Gera Baswani, acclaimed for her paintings and her photographs, it had been months since she began preparing for this moment. Her much anticipated project, Artist Through the Lens, had just opened at Rose Bungalow, Fort Kochi. Speaking to Manisha feels like you’re speaking to an old friend: she is warm, open and very honest about her work and herself. Over the phone, juggling between her kids and speaking about the project, she said, “It has been a lot of work. Since the past two weeks, I have been busy installing the project.”
The title, Artist Through the Lens, is self-evident: the seeds for her project were people from the art community she had known and interacted with for decades. As she puts it, “The world knows the artist primarily by his work. However, the intimacy with the work grows once the ‘person’ in the artist becomes known. Somewhere, that person ‘becomes’ the artist, ensconced in a private space and immersed in a personal expression… I decided to pick up the camera along with my paintbrush nine years ago, finding the lens suited to navigating the artistic world.” Artist Through the Lens began with exploring artists for the people they really were. It has since grown to include other members of the art world: gallerists, art critics, curators, and collectors: “Images of the art world,” as Manisha says.
A. Ramachandran, Manisha’s guru and mentor, with his wife Chameli. Says Manisha, “Introspective scrutiny and deep understanding. This is what Sir and Chameli aunty have given me for the thirty years that I have known them.”
In a casual Q&A session, she spoke openly about her project, her aspirations for it, and how she came to be involved in the biennale.
Your project was showcased at the India Art Fair in 2012 and earlier this year at Art Chennai 2014. Did you feel it evoked the response you were hoping for?
I was not sure what response to anticipate as I was very focussed on the set up. But once I caught my breath, I saw people glued to the images, often returning and sometimes paying a tribute with moist eyes. I could not ask for more.
Were you approached by the organisers of the Kochi Biennale to showcase your project? Was this based on previous responses to your project?
It was a conversation with Riyas Komu at the India Art Fair last year which translated into showing this project at Kochi. Given the audience that visits the biennale, it would be a good venue to share this photographic panorama of the Indian art world with an audience beyond the Indian art community.
“I photographed Anjum at her solo exhibition at Vadehra Art Gallery in 2009. She makes a genie-like appearance from the ‘magic cup’. The background enhances her smoky silhouette, like an emerging apparition.”
Being both a painter and a photographer, do you feel your approach to photography is different from art?
I think of myself as a spontaneous artist: I don’t plan or pre-meditate my paintings. The act of painting still allows a flexibility to pause and calibrate once the process has started.
Photography, on the other hand, requires seizing a moment that feels right. Over time, reviewing my own work has made me more prepared to recognise those moments. For example, I now also scan for shadows or reflections that compose themselves into a ready-to-click frame which I can almost see ahead of time.
What made you decide that you would like to document the art world through these ‘behind-the-scenes’ photographs?
It all started with me consciously capturing time with my teacher, Mr. A. Ramachandran, and that was essentially for myself. While we spoke about how photos of senior artists from their younger days were rare, the importance of what I was doing dawned on me. Since then, the project has acquired a larger significance and purpose for me.
How did this idea strike you? Did you first experiment with it and develop it into what it is now as you progressed?
When I look back, I recall that my camera accompanied me everywhere. It went with me to all art openings, soirees and camps for as long as I can remember. I felt more and more driven to capture ‘behind the scenes’ images of the art world. By the time I felt ready to finally show select images from my project, it was already 8 years old. I was part of a project called Manthan, a platform centred around showcasing art and design practices. It was daunting to showcase in front of a discerning audience, several of whom well-known photographers. As it turned out, they were the most enthusiastic of viewers and motivated me to move forward even more confidently.
“I am reminded of the Wizard of Oz who puppeteered fantastic illusions – here, Bharti Kher keeps a watchful eye on the lifeless, yet lively, mannequin.”
How was your idea received by the people you have photographed? How willing or reluctant were they to allow this ‘entry’ into their lives as artists, gallerists, collectors, critics, and as persons?
Since I am a practising artist myself, more often than not my entry into their spaces was that of welcome and openness. I have spent sometimes hours in an artist’s studio quietly capturing them in their surroundings. These sessions have been interspaced with wonderful conversations over lunch and tea.
Some artist friends were shy and needed cajoling. Some others may have found me a bit intrusive but they indulged me nevertheless. It all changed for everyone when Artist Through the Lens was showcased at the Indian Art Fair by Devi Art Foundation in 2012.
I was in parallel contributing to the quarterly art magazine ‘Take on Art’ via my photo essay column titled ‘Fly on the Wall’ which is now in its 14th edition. This brought another dimension for me as I was now also adding prose and poetry to the visual. This is a good example of the appreciation and support, extended by gallerist and publisher Bhavna Kakar.
As you photographed them, did anything surprise you about them or the way they worked? Any revelations?
Entering artist studios has been one of the most humbling experiences for me. These are borderless and often timeless spaces that have helped me widen my own perspective. Seeing their work process, talking to them about their techniques, and conversations about shared passions have all been enriching experiences I am grateful for.
If there was a revelation – it would be the obvious one of realising that if you are still painting, you are still learning…
“I enjoy the pose Probir Gupta strikes – like a conjurer making phantoms appear on the canvas in the background. His smile almost dares the viewer to catch a glimpse of the illusion.”
What were your thoughts while deciding upon the angling and the composition of each shot?
I am not formally trained and not particularly disciplined about reading manuals. I simply take the camera and wait for the moment to come, and come they do.
You mention a closeness with the artists you have photographed, and this is quite apparent in the candidness of your photographs. Yet with some, there appears to be a distance – we see back views, we see the subject through slits and peepholes, we see their shadows and reflections, or we see them partially obstructed by their work. The reverence you bear for these artists is evident, but there appears to be a distance between the viewer and the subject. How would this influence perceptions about the subject?
Often I find an opportunity to create a composition which brings together the artist and their work, or their philosophy expressed via the environment. When I capture such a moment, I may zoom out the subject in perspective, but my closeness to the person remains unchanged. Examples of N. Pushpamala shot through the eye of a mask or Nataraj Sharma standing next to an industrial crane – both need the expanse which may foreshorten their image but amplify the artist in context.
Nataraj Sharma installing his work at Kala Ghoda in 2009
“Valsan Kolleri mentally navigates a path through the maze his sculpture creates. To me, it’s an allusion to an immortal contemplating on the pot that has spilt the elixir of life.”
“I leapt at this composition as Ranbir Kaleka’s signature headgear seemed to appear like a rising sun over the horizon. The drowning fan seems to look up at him, imploring for a rescue.”
“Nilima Sheikh makes for a forlorn image: a traveller ready to leave, a writer who takes one last look at the manuscript. Somewhere, she is enveloped in the taperstry of her works, merging into all she had to say…”
You’ve mentioned that this project is ongoing. You’ve already included gallerists, critics and collectors along with artists. Do you see a possibility of expanding this further?
Yes, the project started with photographing the artists in their creative spaces. The presence of the gallerist while the artist was installing the show, to the entry of the curator or the art collector turned this project to embrace a wider art community. It grew organically and I don’t want to impose any pre-conceived restrictions to image capturing. I know that I may thematically edit it when needed but the magic is in the expansion itself.
You will find that even where artists are concerned, besides traversing generations, it has transgressed boundaries and is beginning to become South Asian rather than just Indian.
As the biennale continues, we will bring more snippets from our ongoing conversation with Manisha. Keep watching this space for more.