|| 2010 Images ||
His drawings are created by allowing the hand to run freely, only with a slightest possible deliberation. In time shapes are found to evolve, suggesting conceptions, forms that are ultimately of a personal or individual style. This means that in its most fundamental form, the action in creating an art work is a magical process, for the action relies on a form of energy which can be measured, but not defined. Kurma’s art is a constant struggle to get the mind in an ‘oblivion’ state, without a pursuit towards materialistic or intellectual suggestions, instead a conditioning to attain a personal empowerment, symbolic in meaning and wisdom. As a result the art created is the sensation visualized.
Most of his early works articulate stories from moments or experiences encountered in his life. To map the trajectories in styles, as in one of his serigraphic prints are repeated images of a narration in different colors, representing a significant masquerade of a clock, staging a surrealist guise. This work resembles one of Salvador Dali’s well-known surrealist piece, which has an image of a soft melting watch. It appears that the artist could be epitomizing Dalí\\\\\\\'s theory of “softness” and “hardness”… the freezing or melting away of time. The melting clock could also symbolize the irrelevance of time. In this work the energetic human-like form is holding a huge onion, symbolizing an aura having many layers of energy. The charcoal effect reinforces this energy which gives a swirl to the smaller moving cocks that add momentum to the rapid human form clinging on to the onion.
Kurma’s brightly colored wood cut prints in blue and red depict deities from Hindu myths and stories. The energy symbolizes the essence of Oneness. Denoting oneness with the Supreme Being or the merging of the physical with the spiritual. The different ‘astras and vahans’ (weapons or instruments), along with the main figure are descriptive of the function, or the force of nature which it invokes, adding momentum to the entire episode on the surface.
In his smaller paintings on paper, we shall notice that he disregards notions of perspective and the environment that creates it. The primary form or figure is in focus. The form creates the action and the movement and is the carrier of the energy.
The works normally look like
sketches from his imagination. The artist works directly on the foreground, introducing
lines to direct the viewers\\\\\\\\\\\\\\\' attention around the central figure in the
composition and to get rid of the unnecessary details, since they could suggest
something beyond the artistic purpose and could appear as something that wasn\\\'t
resolved as few of the works are not pre-planned. While some works are created
impulsively, step by step, others are scrutinized anecdotes based on familiar
experiences, re-creating the story by newer means - through the choices of
settings, players, actions, and various narrative devices. The artists\\\'
responses to his shift to