Mural
artist PK Sadanandan's work is one of the more eye-catching ones at
the Kochi Muziris Biennale
Photo by Albin Mathew
By
Shevlin Sebastian
When
Yesomi Umolu, Exhibitions Curator of the Reva and David Logan Centre
for the Arts, at Chicago, stepped into a large hall, at Aspinwall
House, Fort Kochi, recently, her eyes widened in shock. Then, as she
turned her head from one side to the other, she said simply, “This
is impressive.”
So
impressive that even Chief Minister Pinarayi Vijayan stopped and
spent a few minutes with the artist PK Sadanandan. The work, titled
'12 Stories (of the 12 Progeny)' is an ongoing mural art work, 50 ft
wide and 10 ¼ ft high.
It
tells the stories from the 'Parayi Petta Panthiru Kulam', a Kerala
legend, of the 12 kulams (families born to the Parayi, or women of
the 'pariah' caste). Here is one story. “Varaduji is a Brahmin
scholar,” says Sadanandan. “On a pilgrimage, he stopped near the
banks of the Bharatapuzha river, in Kerala, saw a house, and decided
to rest there.”
There
he came across a smart girl and decided to marry her. But it was
after a while he realised that she is not a Brahmin, but a Parayi.
When word got around, he was expelled from society.
Of
course, there is an underlying message in the many stories which have
been depicted. “Too much of attention is being given to caste and
religion,” says Sadanandan. “Once we had a society where both
these issues were not that important. I also speak about the
relevance of fate, the inequality of the caste system, and the role
of family and society.”
Sadanandan
is one of the leading proponents of Kerala mural art. “I learnt
everything at the feet of my guru Mammiyur Krishnan Kutty Nair from
Guruvayur,” he says.
One
of the unusual aspects of his work is that he uses natural colours.
So the colour yellow is got by scraping an arsenic stone brought from
Afghanistan. For black, an oil lamp is placed under a clay pot for a
week. The ensuing soot is again scraped away, and mixed with water,
to create a black paste. As for glue it is from the neem tree.
And
all these colours are applied several times. “My assistants –
Anish A.K., Joby John, Anish Kuttan – and I start work at 8 a.m.
and work till 9 p.m,” says Sadanandan. “It will be completed by
the end of the 108-day Biennale.”
And
the reason for this painstaking work is simple: it is the only way to
ensure that the work will last for centuries. “The paintings at
Ajanta and Ellora have lasted for so long because the artistes have
used natural colours,” says Sadanandan.
Meanwhile,
as visitors stream in, there is a palpable excitement on Sadanandan's
face. “For the past 30 years I have been practising this art,” he
says. “But I have never got an opportunity to present my work
before the international art community. I feel so lucky. I am
grateful to curator Sudarshan Shetty for inviting me.”
(Sunday
Magazine, The New Indian Express, South India and Delhi)
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