Wednesday 17 December 2014

My connections with the artist Jessica Chabert..


I think what instantly connected me with Jessica Chabert's artworks was her style and of course these two paintings which were linked in a sense with my Task One: Testing Boundaries. I liked the way she portrayed the classical dancer with the fusion with other elements as flowers.



 Here are other examples of her works, and though decorative, they are inspiring too..


















Reading Kandinsky: Looking at Art on a spiritual plane..

 Wassily Kandinsky


                               Wassily Kandinsky, 'Yellow, Red, Blue' (1925)
"To harmonize the whole is the task of art.”
Reading on Kandinsky is like putting on the exact words in place for what I feel I am making right now. Words are tricky if not aptly used and sometimes I feel that I express myself better with my art. Here is some of what he says: 
In each picture is a whole lifetime imprisoned, a whole lifetime of fears, doubts, hopes, and joys. Whither is this lifetime tending? What is the message of the competent artist? … To harmonize the whole is the task of art.

If the emotional power of the artist can overwhelm the “how?” and can give free scope to his finer feelings, then art is on the crest of the road by which she will not fail later on to find the “what” she has lost, the “what” which will show the way to the spiritual food of the newly awakened spiritual life. This “what?” will no longer be the material, objective “what” of the former period, but the internal truth of art, the soul without which the body (i.e. the “how”) can never be healthy, whether in an individual or in a whole people.
This “what” is the internal truth with only art can divine which only art can express by those means of expression which are hers alone.
 
Kandinsky was greatly influenced by Goethe’s theory of the emotional effect of color and who was himself synesthetic, considers the powerful psychic effect of colour in the cohesive spiritual experience of art:
Many colors have been described as rough or sticky, others as smooth and uniform, so that one feels inclined to stroke them (e.g., dark ultramarine, chromic oxide green, and rose madder). Equally the distinction between warm and cold colors belongs to this connection. Some colors appear soft (rose madder), others hard (cobalt green, blue-green oxide), so that even fresh from the tube they seem to be dry. The expression “scented colors” is frequently met with. And finally the sound of colors is so definite that it would be hard to find anyone who would try to express bright yellow in the bass notes, or dark lake in the treble…
Color is a power which directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul.

Considering color and form the two weapons of painting, and defining form as “the outward expression of inner meaning,” Kandinsky examines their interplay in creating a spiritual effect:
This essential connection between color and form brings us to the question of the influences of form on color. Form alone, even though totally abstract and geometrical, has a power of inner suggestion. A triangle (without the accessory consideration of its being acute — or obtuse — angled or equilateral) has a spiritual value of its own. In connection with other forms, this value may be somewhat modified, but remains in quality the same. The case is similar with a circle, a square, or any conceivable geometrical figure [which has] a subjective substance in an objective shell…
The mutual influence of form and color now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square—all these are different and have different spiritual values.
He expresses himself as such on minimalism:
Form often is most expressive when least coherent. It is often most expressive when outwardly most imperfect, perhaps only a stroke, a mere hint of outer meaning.

Friday 5 December 2014

Boundaries between drawing and painting; and later on painting and sculpture..

“Boundaries are re-assuring; they obscure exactly what exists over and under us at any given moment, and how visible space is intertwined with the non visible.” -Sarah Oppenheimer 
 I think there is a strong relationship between my drawings and my paintings; things are interconnected in many sense and though I feel that drawings from media as pen or pencils are good starting points , my paintings are in fact extensions/elaborations of my drawings. Even with cut-outs I feel some drawing is definitely taking place..
I feel very close to the process of the artist Abdelkader Benchamma on his recent stairwell installation at The Drawing Center. http://www.vulture.com/2015/05/see-the-birth-of-the-universe-in-soho.html

I have often felt I could just fill a room with a work. This can be so exciting. I can identify with what he says:
"I wanted the technique to be very simple,”
"In fact, it’s just line most of the time, line or point, or very large line and very small line, or making a line very, very fast, or making a line with a pen that doesn’t work.” 
"The drawing is very detailed and precise, but it’s impossible to say what you’re looking at.”- This idea of being suggestive is wholesomely exciting (Is there a visual narrative storytelling taking place which could be interpreted and understood each time on a personal level?)  



 









Colouring books by Thaneeya McArdle.


While looking out for some activities for my children, I fell upon this artist who creates colouring books. I really like her way of organising things on paper and I can easily relate to this way of thinking. This simplistic style yet so rich in ideas and colour is appealing and I think this is also where I can look out for when in lack of inspiration (and imagination).    

Colouring books by Thaneeya McArdle:
Groovy Animals Coloring Pages by Thaneeya McArdleGroovy Animals Coloring Pages by Thaneeya McArdle

 

 




Printable Coloring Pages by Thaneeya McArdle

Abstract Patterns Coloring Pages: Printable E-Book of Detailed Patterns to Colour..


Tuesday 2 December 2014

Related article from "Le Matinal" :The Baitka.

http://www.lematinal.com/culture/6362-le-%E2%80%98baitka%E2%80%99%2C-une-%C3%A9cole-de-valeurs%E2%80%A6.html



La vie sociale des travailleurs engagés était axée autour du ‘baitka’, leur rappelant ainsi leur mode de vie en Inde. C’était pour eux un point de rencontre les après-midi, après une journée de travail. Ils se consacraient à la lecture des textes religieux ou tenaient des réunions.
Le ‘baitka’ se trouvait principalement dans les régions rurales de Maurice. C’est ce qu’a déclaré Arjoon Koosul, président du Mauritius Gayatri Pariwar Trust (MGPT). Et d’ajouter que les  jeunes de différents villages s’y rendaient également pour étudier les textes sacrés de l’hindouisme et apprendre l’hindi.
Alors que les plus âgés s’y rencontraient pour tenir des réunions au cours desquelles ils parlaient en bhojpuri.

Pendant les années précédant l’indépendance de Maurice et après 1968, le ‘baitka’ devient un endroit servant de lobby politique, selon lui. Les chefs d’organisations socio-culturelles y donnaient des mots d’ordre pour les élections générales, appelant leurs membres à voter pour un parti politique ou une communauté spécifique, dit-il.

Arjoon Koosul explique qu’à l’époque coloniale, les membres de la communauté hindoue se consacraient à l’apprentissage de la langue hindi, de la culture et de la philosophie indienne à l’école du soir de leur localité, connue comme le ‘baitka’. L’enseignant, soit le ‘guruji’, y enseignait des prières, des chants en sanskrit et les valeurs fondamentales de la vie, tirées de textes sacrés comme les Vedas, le Rama-yana, les Upanishads et la ‘Bhagavad Gita’.

Les cours, dit-il, étaient dispensés en semaine de 16 à 18 heures pour les enfants et de 18 à 21 heures pour les adultes,  dans certaines régions du pays. “Ces classes ont produit de nombreuses élites de ce pays, en particulier dans l’enseignement des langues orientales. Ces personnes occupent aujourd’hui des postes clés dans le secteur éducatif”, avance-t-il.

Des réunions communautaires, des cours éducatifs et des cérémonies religieuses étaient effectués dans les ‘baitkas’ situés dans chaque village rural. “Ces ‘baitkas’ avaient été fondés pour inculquer les valeurs culturelles, morales environnementales ,sociales et religieuses. On y enseignait également le bénévolat, le soutien aux personnes âgées et aux autrement capables”, lance le président du Mauritius Gayatri Pariwar Trust.

Cependant, actuellement, peu d’endroits sont dotés de ‘baitka’, selon lui. Et d’ajouter que pour le MGPT, le constat est qu’il y a eu au fil des années, une dégénérescence au sein de la société et que le ‘baitka’ perd sa popularité, surtout parmi ceux qui sont passés à l’ère moderne. Arjoon Koosul cite un extrait du livre ‘Lineages of Despotism & Development : British Colonialism & State Power’ de Mathew Lange, assistant professeur en sociologie à l’Université McGill notamment : “le ‘baitka’ a facilité la maintenance préventive et la propagation de la tradition et de la culture ancestrale”.

Et de conclure qu’en 1946, la Colombie avait envoyé Kenneth Baker, un organisateur syndical, à  Maurice. Ce dernier a pu interagir avec les travailleurs agricoles à travers les ‘baitkas’, au lieu de mettre en place une organisation distincte pour fournir l’éducation syndicale.



Autrefois...

Les ‘baitkas’ étaient également des lieux de discussions formelles et informelles sur des sujets aussi variés que le travail, la famille et la politique, entre autres.

Autrefois, ils étaient souvent construits sous les perches des feuilles de ‘ravinala’ et des tiges de ‘fatak’ tout en étant consolidés par des poteaux de bambous.

Le toit était fait de feuilles de cannes sèches. Alors que les murs et le sol étaient recouverts de boue et de bouse de vache. Les ‘baitkas’ étaient fondés dans les camps sucriers et des villages. Ils étaient créés par des communautés rurales particulières.

Dans les camps sucriers, les membres du baitka étaient des laboureurs de la propriété.

Dans les villages, les membres étaient des laboureurs et des travailleurs exerçant dans d’autres types d’activités. D’habitude dans les camps sucriers, la personne désignée comme responsable d’un groupe de laboureurs, avait le statut du chef.

Tandis que dans les villages, les dirigeants des ‘baitkas’ étaient des ‘sirdars’, des recruteurs de main d’oeuvre et des propriétaires terriens.



“Lorsque je jette mon regard tout autour, je rencontre les ruines d'une orgueilleuse civi-lisation qui s'écroulent et s'éparpillent en vastes amas de futilités. Pourtant je ne céderai pas au péché mortel de perdre confiance en l'homme : je fixerai plutôt mon regard vers le prologue d'un nouveau chapitre dans son histoire.”
— Rabindrananth Tagore (Gitanjali)


Tous ensemble !

“Aucun mandir, kovil, shivala et mandiram n’existerait si les travailleurs engagés n’étaient pas venus de l’Inde à Maurice.” C’est ce qu’a déclaré le Swami Saraswati Satyakamananda de l’Ashram de Beau-Climat situé dans le village de Nouvelle-France.

Il nous raconte qu’assis sous des arbres, nos ancêtres, notamment les travailleurs engagés, effectuaient des prières et des rituels, dont le sacrifice de feu qu’on appelle le ‘hawan’. Cela tout en disant les versets de textes sacrés védiques du Sanatana Dharma, tels que le Ramayana, le Maha-bharata et la Gita, entre autres.

Le Swami Saraswati Satyakamananda explique que les travailleurs engagés se rassemblaient pour étudier et promouvoir le chant védique qu’englobe le Sanatana Dharma. Ainsi, dit-il, ce rassemblement est appelé le ‘baitka’. La racine du mot ‘baitka’ est dérivée du mot hindi ‘baithak’ qui signifie être ensemble.

 Elle peut aussi être dérivée de ‘baithna’ voulant dire s’asseoir. “Ici le ‘baitka’ ne signifie pas s’asseoir mais être dans les mains divines comme un bébé sur les genoux de sa mère”, dira le swami. Et d’ajouter que le ‘baitka’ est aussi un lieu pour chanter et louer le Dieu ultime.

“Grâce au partage de la connaissance spirituelle, les gens vivent comme des bons êtres humains”, dit-il.

Il raconte qu’autrefois les gens étaient vraiment pauvres mais leur coeur était plein de compassion pour l’autrui sans distinction de religion, croyance et caste et qu’ils se respectaient les uns les autres. “Le ‘baitka’ est une véritable institution de l’éducation spirituelle qui permet à plusieurs communautés de vivre en harmonie”, dit-il.

 Et de conclure que la vraie éducation spirituelle apporte l’unité dans la diversité, comme le témoigne la présence des ‘baitkas’ d’autrefois, dans chaque village à travers l’île. “Ces jours devraient revenir afin d’unir notre île arc-en-ciel”, dit-il.

Saturday 8 November 2014

The Placing of the work "Testing Boundaries". An offering.

Reflections: My last visit at the centre was personally a memorable one, and also an eventful one. I can fully understand the meaning of connectivity and I feel totally in harmony with what I was offering to the "baitka". I also have to analyse my feelings at the time of the placing of the work for I was offering something that felt so important to me. Was Everybody around feeling the same way? I really do not know, However I get this heartfelt feeling that people around have already accepted me as one of them: I form part of their circle and what I was offering to them was making some kind of meaning. Joyful faces and smiles meant encouragement: they were in favour of art.
My audience was open to change and acceptance: they had asked many questions at the time of making as they were not accustomed to abstract responses. Being an educator, I asked myself if some kind of teaching has been taking place. This was not an intentional goal, however people who are so inviting and kept an open mind for things could rapidly move on to different stages in their level of reading an artwork. They were sensitive to colours, and could understand expression and communication for some of them were performers and skilled dancers. I ended up becoming enthusiastic too. I would like to think that my whole experiment was a successful one.

1. Question: Does the opinion of the public makes a difference to me?
Answer: I think this is an important question and I have been reflecting on this at different levels. I would like to think that this whole task was really a collaboration and that the outcome had depended on their interaction to some important level.  However, I think that if the audience would have reacted in a different way,maybe my response would not have been so enthusiastic.
2. Question to myself: Was I working to please an audience?
Answer: I definitely felt I was working out on something that would be given away and that would exist in a place around a particular audience. I was definitely working around that audience. This artwork exists mainly because of its audience.
At the placing of the artwork, different suggestions were offered, rejected and finally accepted. One suggestion was to place the artwork at the balcony garden as it could enhance the surroundings. Another was to place it where the people of the "baitka" usually gathers to do their morning prayers. The last suggestion, accepted by everyboby however, was the staircase where everybody voted in favour of.  










 THE CHOSEN PLACE:




Recent Discoveries..

This is a Facebook page called "Beyond Henna" that instantly got me connected with my recent research. Here are some of its posts :




And this post strangely resembles my spiral work at the start of my experimental work. I took my inspiration from rainbow colours. Here I feel strange how this idea had already existed before. Maybe this is what research can bring forward: the idea that what was in my mind had already existed somewhere. I can weigh down how research can bring us to think again about what we could have thought to be original.And the ideas projected also coincidentally and mystically represent harmony in an interesting way...



Reflections: This is like I am filtering tons of information at the same time. I realise that these images, as that of my association with Hindu festivals,etc. forms part of my environment and culture of everyday life.
1. Question: Am I being a little cliched here?
Answer: I really do not think so, I am only surfacing something from my subconscious. I feel like I only have to dive into an ocean of ideas which I feel is present somewhere in my mind, bubbling to come out. What is coming out is starting to make sense to me.
2. Question:Why do I feel that I need to do this?
Answer: As I work, I feel excitedly alive and I feel a kind of rich inspiration flowing. Maybe by being so constantly imbedded in this environment, what has to come out inevitably has to be a reflection of it...