Pramod Ganapatye is a painter who needs watching. For he paints with the madness of a Van Gogh and runs riots with his colours. There is lots and lots of it. And with good reason too. For he uses colour or a jolting emotional impact. Sharp and staring the viewer straight in the eye. The viewer has to swallow the first salvo before he could get the hang of it all. And one does get the hang of it, ultimately.
Pramod Ganapatye’s subjects are people, life and the landscape, all done in contemporary idiom. And what is remarkable is, that the people that populate his canvases are the ordinary folk- the folk that show some character which is in harmony with the landscape Ganapatye chooses to paint. He paints shrines in a hilly landscape with the devotees bathing or marching towards them- shrines that carry all the traditional symbolism with them. The Pond nearby meant for a bath before the obeiscance, the flag on top of the temple, and strangely enough, a Ravana in the background, Flower- plants, arches, domes – And a congenial earth and the sky…
Another remarkable thing about his figures is that they show a kind of ruggedness which can note be done away with. And all of them have a visible mass (and weight in consonance with it). It is in fact due to this weightiness that Pramod Ganapatye’s characters make their presence felt, in the same way as his landscape makes itself felt. And another interesting thing about Ganapatye’s creations is that while he uses contrasting colours to dramatize the event or highlight the characters, his landscapes display a kind of harmony that is based on the juxtaposition of the opposites. Ganapatye’s message is therefore loud but clearly artistic.
A word must of course be said about his use of space. He almost uses it like Mughal miniatures and creates extra dimensions through proliferation of the image into other segments of the frame. In this way his linear world gets transformed into a three dimensional one though it stops short of being spherical. Even the construction of his imagery is interesting. He builds up his images with very sharp and vibrant forms and figures. Typically appealing houses, terrain, flora and fauna and emotionally charged characters. And this without cramming the space or the viewer’s mind. In fact Ganapatye’s space is infinitely more accommodative than what normally a painter of his age gets it to accommodate. Ganapatye’s space imparts a sense of freedom to the viewer and that’s not a small achievement.
And the other important characteristic of Pramod Ganapatye’s paintings is that nothing is static within the frame. Each form and each character is imbued with its own dynamism- a dynamism that comes out of the fact when one reflects about these images, one comes to the conclusion that the painter has not allowed one’s eye to rest or to wander aimlessly. That one has been engaged in the drama within the frame as well as outside it (the reference part of, that is to say).
Summerising, Pramod Ganapatye has come out with some significant pieces of works that are worthy of notice. Indeed, they display a kind of promise that is rare in the art world, amidst his generation, particularly.
Kala Darshan
Pramod Ganapatye’s subjects are people, life and the landscape, all done in contemporary idiom. And what is remarkable is, that the people that populate his canvases are the ordinary folk- the folk that show some character which is in harmony with the landscape Ganapatye chooses to paint. He paints shrines in a hilly landscape with the devotees bathing or marching towards them- shrines that carry all the traditional symbolism with them. The Pond nearby meant for a bath before the obeiscance, the flag on top of the temple, and strangely enough, a Ravana in the background, Flower- plants, arches, domes – And a congenial earth and the sky…
Another remarkable thing about his figures is that they show a kind of ruggedness which can note be done away with. And all of them have a visible mass (and weight in consonance with it). It is in fact due to this weightiness that Pramod Ganapatye’s characters make their presence felt, in the same way as his landscape makes itself felt. And another interesting thing about Ganapatye’s creations is that while he uses contrasting colours to dramatize the event or highlight the characters, his landscapes display a kind of harmony that is based on the juxtaposition of the opposites. Ganapatye’s message is therefore loud but clearly artistic.
A word must of course be said about his use of space. He almost uses it like Mughal miniatures and creates extra dimensions through proliferation of the image into other segments of the frame. In this way his linear world gets transformed into a three dimensional one though it stops short of being spherical. Even the construction of his imagery is interesting. He builds up his images with very sharp and vibrant forms and figures. Typically appealing houses, terrain, flora and fauna and emotionally charged characters. And this without cramming the space or the viewer’s mind. In fact Ganapatye’s space is infinitely more accommodative than what normally a painter of his age gets it to accommodate. Ganapatye’s space imparts a sense of freedom to the viewer and that’s not a small achievement.
And the other important characteristic of Pramod Ganapatye’s paintings is that nothing is static within the frame. Each form and each character is imbued with its own dynamism- a dynamism that comes out of the fact when one reflects about these images, one comes to the conclusion that the painter has not allowed one’s eye to rest or to wander aimlessly. That one has been engaged in the drama within the frame as well as outside it (the reference part of, that is to say).
Summerising, Pramod Ganapatye has come out with some significant pieces of works that are worthy of notice. Indeed, they display a kind of promise that is rare in the art world, amidst his generation, particularly.
Kala Darshan
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