Rameshwar Broota can be corporeally described pretty exactly, having over
time kept his body's weight as light as light may be. But how may we account
for the gathering weight of what he crafts ? That's where the mystery inheres.
I have several guesses, but shall desist from naming them. I'd rather look
back in time ignoring memories of the other endlessly interesting to-mg
and fro-ing artists, as of cataclysmic or else routine events and recapitulate
my innumerable encounters with the painter's work.
By Keshav Malik
been said that the only secret is that there are no secrets, and that we
being limited beings, things often appear ta us in a mysterious light.
This may well be so, but tram that very source flaws our sense of suspense,
of never fully knowing what obtains. In knowing anyone, but especially
those in pursuit of the muses, you are likely to scratch your head from
time to time, and that despite all your familiarity with them.
words are elicited even as the present author inertly meditates his knowledge
at Rameshwar- as person and as artist. What is the precise relationship
between these two categories ? Mystifying, notwithstanding my certainties
on sundry counts. In the following pages I would like to dwell mainly on
the artist in this man, and that inspite at having spent long hours with
him, and so in varied life situations over the decades. But the ground
beneath Rameshwar's person, like under any other artist's, remains terra
incognito, primarily. We may speculate, at this point, on the matter but
are still unable to propound fool-proof axioms regarding it.
in mind, I go back to November 13, 1964, when the painter was in his early
twenties, and still fresh from his alma mater, the Delhi Polytechnic. On
this particular occasion there was a group show at Delhi Silpi Chakra,
and so tram my notes on him, then, this is what I had to say ''Rameshwar
is skilled at textures. His is a sort at nature painting; a natural world,
but not the one seen by the naked eye, only the inner. One can have rows
and rows of toppling rectangles, semi-circles or horse-shoe signs and symbols.
All of which, plus a dry surface, afford a masculine, resolute feel to
that these circles, rectangles and so on disappeared in due course, but
the resolute feel to his work was maintained doggedly. Then more time elapsed
and I only had glimpses at the painter's person seen wandering around the
Mandi House along with his buddies. But then came yet another group show,
at the same Silpi Chakra (3 April 1965), and thereby my fresh assessment
of his work within another collective context-"Rameshwar Broota's graphics
are among the more ambitious lunges in the exhibition, and they are at
the same time the 'darker' end of the spectrum, that is, with their concentration
on the present century's mankind- that maker of beautiful objects but a
hell in himself, more often than not. This kind of, so to say paranoid'
sobering up, is perhaps essential our present mindless smugness as to the
shape of things to come. The painter's is a pin-pointed finger."
But, as it
happened there were perhaps a passing, rather erratic interlude, during
1967. In that year was the Silpi Chakra Annual on 24 February, and when
the painter, along with his fellows, was led, I felt - "to explore the
bizarre, an extreme instance of it being the work of Rameshwar Broota.
Perhaps for him a passing phase."
What i said
appeared corroborated in some ways soon after, at the Triveni Gallery Group
Show of March 31,1967.
I had jotted
down thus - "Rameshwar Broota is young . But no matter, in his exhibition
he creates several compelling, attractive effects. This is especially so
in those of his musing, semi- dreamy works altogether pleasing,being warm
& human in an unusual. way."
to R. Broota's home page )