Sajesh Pallikara’s real work pushes the boundaries of imagination
Sajesh Pallikara’s work is not for casual viewers. Pictures, seem to be the large mosaic of images, demand your undivided meditation. In both charcoal and color, the pictures are exceptionally wide. Sajesh finds it difficult to put a finger on his creative process. “This is a flow,” he says, “about ideas, people, thoughts, words and images” and their skill lies in finding a balance in this chaos.
Their surprises live in the place between dreams and reality, continuously challenge the viewer to question, consider and remember the boundaries of imagination.
The show, Axiomatic IPSO Facto, brings selection of his paintings, in which he won the 2016-2017 Lalithakala Academy Award. The show includes big tasks, one of them is large as 16 feet / 5.5 feet. In addition to the expander canvas, Sajesh has also shown small paintings and imaginary images of the people. Tea-washed rice paper appeals a unique vintage for a charcoal picture.
Although each image is quite different from another, they are connected to one subject. Sajesh investigated the idea of ​​the scenario in his entirety. “What happens when the entire community is going out of cities that can no longer adjust them? Even if people are moving physically, what will they be carrying with them in their minds and hearts?” He asks.
Each work demands time and effort. He interviews people, sees the documentary and reads to fuel his inspiration.
An art teacher in FR. Joseph Memorial Higher Higher Secondary School, Puthuppdi, Muvatupuzha, dedicates his free time to his art practice at Sajesh. Sajesh is currently working on a new unnamed series. The show is cured by Shaju Nellai.
Fatal of Unnikrishan C everyday and from the political place of bricks
The shows of Unnikrishnan C, whispering walls, are also part of the exhibition, are inspiring for the freshness of expression, how they have been imagined and executed on bricks. Yes, those red bricks that are made of natural soil.
Thought stimulating, establishment speaks of his engagement with his quote surroundings. He sees the activities very closely at home or home and around; Instead of an outsider, he is an internal formula and so his gaze is more intimate. “Local and personal stories are a connection for me. As far as I am concerned, a brick is one of the most political places that an artist can use.”
Unnikrishnan C | Photo Credit: Special Arrangement
Visual metaphors are obtained from their everyday life and find a place on their ‘canvas’, whatever it is – a real canvas or a brick or a door. What Annikrishnan says about the brick will attack a raga, we rarely imagine it as the location of an artist. We see it either as a building block (which is this) or as an agent of destruction when in protest or in opposition. The show challenges perceptions or status quo. The installation includes a rectangular box -like ‘room’ of bricks placed in the center of the gallery; Some bricks producing ‘walls’ have common items – steel tambler and plate, coconut, mango and other fruits, flora and fauna, painting brushes, a switchboard, rice circle and curry bowls, mobile phones – and imagination are not so simple.
Another installation is their series of daily drawings, which will be laid or arranged as a pile of bricks. The perspective of curatorial notes Annikishan is called Vernacular, which is this. His art is inspired by his life, because he lives it. The Government Fine Arts College, Thrissur, Nenmara (Palakkad), a native of Nenmara (Palakkad), has been part of Kochi Muziris Bienle and Sharjah Bienle, besides their first show in Switzerland, and part of the Seattle Art Fair. The show is cured by Sudhesh Kotambram.
Conflict of everything in Abhijeet Udayan works
For his single show, marginal continuity and interstitial possibilities of existence, artist Abhjith Udayan has taken inspiration from his life and his community. He writes in his artist’s statement, “I take inspiration from my everyday conversation with society, especially in Alappuzha, Kerala, the rhythm and realities of life, where I was born and raised. The fishing community here plays a central role in shaping my artistic perspective. Their equipment and their collective soul work.”
Abhijeet Udayan | Photo Credit: Special Arrangement
Therefore, we see canvas through a ‘fishing mesh’ painted on them. The net is unavoidable. “This is a part of my life and I have integrated it into my art!” He says. It turns into a layered metaphor for life and options. For example, they say, some people will combine a mesh with a sense of trapped, but they see it as an integrated element. A one who binds the people of the community together. However, as their practice developed and with them, the recurring net shows, “sometimes it stands for mutual relations and support; at the other time it suggests implicating, control and harassment.”
His art becomes a medium for expressing duality and mutual relations in his everyday life. The functions may look misleading, but they are layered with images that manifest themselves in a close form. Each canvas has a deep philosophical meaning than meeting the eye. Raja Ravi Verma College of Fine Arts, Graduates of Mavelikara, Abhijeet is currently following his Masters in Fine Arts (painting) at Central University, Hyderabad. Apart from this, the show is one of his paintings, which made a special mention in the student category in the Kerala Lalitakala Academy State Awards (2022-23). The show is cured by Megha Sris.
The shows organized by Kerala Lalitakala Academy, as part of their contemporary single art exhibition project, conclude on 5 July in Kochi, Kochi, Kochi.
Published – July 04, 2025 01:59 PM IST
