Art for the soul
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| Viveek Sharma |
His face is familiar, thanks to his acting stint in
Bollywood. But what Viveek Sharma is really known for are the faces he creates
on canvas. Right from being a sketch artist for the police force to becoming an
artist par excellence, Viveek has carved a niche for himself in the art world.
His latest exhibition ‘Silence, Please!’ portrays silence
and stillness with Mumbai’s noise as the backdrop. And he shows this through portraits
of India’s Sadhus, referred to as ‘the
silent ones’ in ancient Vedic verses. Here, Viveek speaks about the exhibition and
his work at large.
Your recent
works are absolutely spellbinding. Congratulations! It’s a very interesting
portrayal of finding silence in the chaos. But although there is a definite
meditative quality to the paintings, there is also a glimpse of angst and a
disturbing attribute that is palpable in the facial expressions of a few
portraits. Was this feature a deliberate attempt? If yes, what was your thought
process behind it and what was it that you wanted to convey?
I find my inspiration in human subjects, everyday
life… It’s complexities and emotions. So yes, the intensity in the portrayal of
my subjects is intentional. Human beings are multidimensional and I try to
represent the fullness of an image. Layer by layer, I wish to capture emotion,
thought, wisdom, concealment, revelation, desire, faith, hope and surrender.
The combination of technique and elements provides the atmosphere for each
painting and draws one into the subject.
George Bernard Shaw said, "You use a glass
mirror to reflect your face…You use work of Art to see your Soul." My work
is an attempt to connect with these extremes of human emotions and touch the
soul.
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| Viveek's painting from 'Silence, Please!' |
You are
described as ‘a painter of metaphors’. On the other hand, art has forever been
a medium that’s endorsed individual interpretation. How important is it for you
as an artist that your interpretation is understood by the viewer?
Yes, I am known for my metaphorical
representations which were more obvious and noticeable in past canvases… I feel
that this body of work has moved more towards Mysticism only because the subject
matter is ‘The Silent One’. The Silent Ones are seeking unity with the universe
and desire to transcend the material and physical world surrounding them. I
still use them as a metaphor for every individual who is seeking that peace of
quiet, that temporary respite from the endless noise that we have become immune
to in our urban environment. So the Metaphor is not apparent, but still exists.
Like I said earlier, my inspiration comes from the
observation of human interaction. I am drawn to the living and the art in
living, social realities and philosophies the seemingly opposing forces of past
and present, urban and rural, spiritual and physical, modern and traditional. I
wish to tell simple stories that the viewer can connect with. They can relate
to and find meaning in the representation on the canvas. I wish for the viewer
to feel… feel their own connect with the work. Individual interpretation is
just that... identification with the subject matter on a personal level.
What’s a
subject that’s closest to your heart and is yet to find its way on your
canvas?
I have always been influenced by strong artists
who have the integrity to retain their individualism and experiment with
techniques and subjects.
Could you
elaborate on your intent of using light and sound in your ongoing exhibition?
Is this the first time you are bringing together mediums that appeal to
different senses? Or has this been a regular feature in all your exhibits?
My work inherently has a focus point of light that captures
the attention of the viewer and draws them in. As the light disperses through
the painting, it guides them along through the canvas. This is characteristic
of the series as a whole and of my work.
This is the first time I am using light and sound in my
exhibit. When ideation was in process, I had a strong desire to create and
experience of the senses… I wanted to challenge myself to explore the
possibilities of interaction with the canvas. I wanted the viewer to experience
the inspiration behind this body of work. Take them through my experience with
my Noise Pollution and our subconscious addiction to it in our urban
environment, and then direct them towards the importance of consciously extracting
oneself physically, mentally and emotionally to find our inner peace and quiet.
Even if it is for just ten minutes, I wanted to transport them away from the
daily routine.
By guiding the eyes and ears, the visitor senses a new
proximity with subject.
As someone
with such an extensive body of work and as someone who still practises old
school techniques, what are your observations on the contemporary art scene?
How has art evolved? What are the current trends in art that excite you?
The contemporary art scene in India is bursting with
talent... there are known and unknown talents that are creative and skilled.
With the age of information technology and globalization, the art world is
getting closer. This helps in knowledge sharing.
Art has moved from the traditional canvases and cloth to
fashion, photography, film and theatre, advertising, décor and even food. The
possibilities are limitless. Today, people perceive art differently. There is
more acceptance, interest and an exchange of knowledge.
Installation art is a current trend that never fails to grab
my attention.
Your
professional career as an artist mentions a fascinating detail – your work with
the police force. Could you share that experience with us? What was the work
all about, how did you get into it and how did that contribute to your journey
as an artist?
It all started as a way to earn some pocket money
while studying in Sir J.J. School of Art. Working with the police force was an
exciting and challenging time. I would get called out at unearthly hours to
crime scenes so as to work on the suspect sketches from witness accounts. The
tension and energy would be high and fuel the adrenaline. Working with the
Mumbai Police strengthened my skills in sketching which profoundly impacts the
foundation of any piece of work. My professors at Sir J.J. School of Art
instilled in me a strong belief in the basics of art. Although this period of
my life was difficult, it has helped my work and created some lasting
friendships.
You also
had a short stint with acting in Hindi films. How did that happen? Are you
still pursuing it?
I used to go to Prithvi Theatre to sketch
portraits when I was a struggling artist. Mr Anurag Kashyap came by one day and
told me that someday he would use me in his films. I never did take him
seriously, but one fine day he approached me with the opportunity to work in No Smoking with seven character roles.
During this time, while the film was in the making, Mr Shaad Ali approached
Anurag Kashyap with the need for a set of twins to appear in Jhoom Barabar Jhoom. Then there was Ashoka with Santosh Sivan who wanted
Vineet to call me in as his twin brother. For me this was a 70mm canvas.
From being
a connoisseur’s or so to say collector’s medium, art is fast becoming the investor’s
medium with the spotlight on art auctions. How do you view this whole emergence
of art investment? Do you think that’s the future? If yes, do you see it as a
positive step, in the right direction?
In the traditional sense of an investment, there
are numerous factors to consider before one opts to create an art portfolio.
Like any other investment, art can only perform this function once the basic
needs and wants of an individual have been met. The traditional sense art as an
investment, would apply if one is intuitive enough to invest the right time and
if one is able to foresee growth of the artist.
I believe that there is another side to art as an investment...
an investment in culture and history, people and ideas,
knowledge and passion.
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