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Photo: S. Mahinsha

Captivating ‘representations II’ showcased representative works of Alexander Devasia, Anoop Panicker, Bhagynath C, Riyas Komu and Santhan N.V.

‘representations II,’ an exhibition of paintings organised in the city by Triva Contemporary showcased representative works of five Malayali artists – Alexander Devasia, Anoop Panicker, Bhagynath C, Riyas Komu and Santhan N.V. – who have proved their mettle in the national scenario.

Each of their works has a theme but each artist creates a different mood and feel with his collection of art works. “This is our second exhibition in that line. We want our people to be proud about our artists who are making such an impact all over the world,” says Krishnan.

The works of Germany-based Alexander Devasia catch the eye with their otherworldly existence. ‘Twilight,’ which depicts red clouds hovering over a desolate building, is, in fact, his memory of Alappuzha and its revolutionary phase. ‘Crow sitting on dried rice,’ which shows a big bird towering over mountains and clouds gives viewers tantalising glimpses of magical realism. The exhilarating and enlightening effect of the works of N.V. Santhan is mysterious. The untitled works are abstract revelation of the artist’s mind – a kind of experimental expressionism.

“Don’t come to me for meanings. I cannot satisfy anybody with an explanation because I think that art can never be explained through language.” One can see the fine work of a sculptor in his pencil drawings. The monkeys, the Rudraksha beads all give the painting a dash of Eastern mysticism.

But the next series of works by Anoop Panicker takes viewers to a different plane.

Three works titled ‘In seismic zone’ speak volumes about the insensitivity and violence that is rampant in society. It is a play on weapons.

Inspired by the findings of celebrated zoologist and ethologist Desmond Morris, Bhagyanath subscribes to the belief that human behaviour in big modern societies resembles animal behaviour in captivity.

In ‘Trapped,’ animals trapped in barbed wires run wild throughout the canvas. Amidst the dark world beyond and the starlit sky, mankind is shown as suffering and trapped by a world of their own making.

“When I moved from Kannur to Kochi, I really experienced this feeling. It is a commentary on the city dweller,” says Bhagyanath.

Perhaps the most eye-catching of all the works was the installation by Mumbai-based Riyas Komu.

An installation in wood and metal bears a crimson coloured message, ‘Vottu Cheyyuka,’ (please vote) in Malayalam. The multiple layers of meaning and subtexts evoked by the installation is enhanced by the wooden emblem on the middle of the work. It is a depiction of the human brain and a star. It is also a voter’s seal.

The week-long exhibition provided an opportunity for the viewers to get an idea about trends in the art world.

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