Termed an artist of ‘deconstruction’, and not creation, the stories in Manjunath Kamath’s artworks are actually in the midst of assembling themselves. They are not mere linear or straightforward narratives, and draw viewers’ attention with a touch of wit, beauty and playfulness. He quips: “Both artists and philosophers search for the truth, but can’t easily find one.
Each notion of truth belongs to a particular era, and it is bound to fail after some time.” To put it in his words, that’s exactly why he is still painting since once he is finished with the canvas, he just like any other person. If I ever discover truth, which doesn’t fail, the next day I may stop painting. He is not in favor of narrating a particular tale, about a specific issue.
His recent series of works, entitled ‘Collective Nouns” was on view at Sakshi Gallery, Mumbai. It was a mélange of painting and sculpture. The diversity of forms on view only accentuated their intrinsic harmony. In small watercolors works on paper, in the large canvases as well as fiber glass, wood and terracotta works, the themes and motifs as if spoke to each other. Quote marks and speech bubbles recurred; rabbits proliferated; small figurines of gods popped out, a balloon appeared, ready to be burst.
Born in Mangalore in 1972 and residing in New Delhi for long-time, brought out his characteristic flair for presenting disrupted narratives. His concerns to free the visuals from their verbal equivalents have evolved through his work.
An introductory note to the show said it was a tribute to Prabhakar Barwe. Manjunath Kamath himself added the work on view represented a conversation with the late artist’s work that comprised very simple objects like tables, pins etc, to create so many problems in basic references. This was a silent communication with Barwe’s works in some ways, he affirmed.
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