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“While most of the activities of the corporation revolve around economic empowerment, we thought of concentrating on an out-of-the-line field such as art to understand what student artistes felt about being a woman in these times.

“There are very few Malayali women artists emerging on the national art scene. It is only in recent years that fine arts colleges in Kerala have seen such a large intake of women. We hope to conduct a national-level workshop next year so that students are exposed to works from other universities. Part of the proceeds from the sale at the exhibition will be awarded as scholarship to a student of fine arts,” says T.K.Manzoor, managing director, KSWDC.

Oblivious to their surroundings and inspired by an earlier session with social activist Sugatha Kumari, the students transferred their impressions on to canvas over the course of two days.

“She spoke on issues we come across in the papers everyday. Yet, when we heard it from her in person many of us were moved to tears,” says Remya R.S., an art student from Mavelikara, who is attending a painting camp for the first time. A boat on her canvas symbolises the woman of today. “It’s sailing in the opposite direction of the wind, which signifies society. The boat journeys forward even in the face of such obstacles,” she explains adding that the event resulted in a healthy exchange of ideas and perspectives.

Yamini Mohan, a participant from the city, agrees saying: “It is hard to believe that women face grave difficulties in an age when everybody’s preaching about women’s liberation. Unfortunately, it seems like a concept that exists merely on paper. As artistes, we do our part by putting it on canvas.”

“Just two days of the workshop has made an enormous difference in the attitude of the girls. They were shy and withdrawn when they arrived, some even hesitating to give a free reign to their imagination,” says Latha Kurien Rajeev, an art curator and consultant to the event.

“This camp is all about testing their limits. Initially, they were reserved about painting in the presence of onlookers. The experience has taught them that, as artistes, they are entirely responsible for their inhibitions,” she says.

Increasing doses of obscenity is an issue for Reshmi K.R., Thripunithura.

“If 10 years ago, the costume was a traditional sari, today it is a revealing outfit. Ten years on, costumes might be absent,” she says.

Her friend Noora Ashraf has painted a set of burqas with floral prints on them. “If it is worn to honour one’s religion, it should not be decorated with prints and designs as if to make a fashion statement,” she opines.

The girls deftly sweep curves emboldened with colour, each significantly distinct from the rest.

Arunima Krishnan from Thrissur is painting a pair of red stilettos that lie toppled beside neatly arranged rows of men’s footwear.

“A woman’s status in society,” she remarks while nearby, Renitha Surendran, from Kalady, is engrossed in finishing a mural in which a woman caresses a tree bursting with thorns. “The thorns represent society,” she says wistfully.

For most first-timers, it was an experience they have always wanted to be a part of whilst for others, it was one among the few memorable camps they had attended in a long while.

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