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| The cornerstone of Badri's art is the restoration of wonderment, which
he describes as a quality of amazement that we feel in the presence of
the world, and an attendant ability to surrender ourselves before its enchantment.
Succumbing to the insidious processes of habituation and familiarity as
we all too often do, we forfeit this sense of wonderment; in William Blake's
phrase, we have Permitted our "doors of perception" to become clouded over,
and in consequence, cannot "see things, as they are, infinite". Badri's
art provokes us into a renewal of attention to all that we take for granted
in our experience.
Having lived in the hectic and crowded metropolitan centre of Bombay for fifty years, Badri has been at the front-line of this struggle between two orders of responsiveness, between banality and wonderment. His particular contribution to the cause of wonderment has emerged from his exercise of what is best described as a fabular imagination. This sense of wonderment in William Blake's phrase, we have permitted our "doors of perception" to become clouded over, and in consequence, cannot "see things, as they are, infinite". Badri's art provokes us into a renewal of attention to all that we take for granted in our experience. Having lived in the hectic and crowded metropolitan centre of Bombay for fifty years, Badri has been at the front-line of this struggle between two orders of responsiveness, between banality and wonderment. His particular contribution to the cause of wonderment has emerged from his exercise of what is best described as a fabular imagination. This imagination does not seize the crucial themes of life and render them in fierce expressionistic strokes; nor does it drain away the pulse of the lived experience and signify rt. through a mathematical abstraction; nor yet does it translate emotion into a chaotic flow of gestures. Instead, it refracts the teachings of experience through such prisms as the tale, the fable and the parable. - Ranjit Hoskote
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@ Indian Art CircleAtelier 2000