Sketching The Transcendent Sundargarh – II

Two Days of our Sundargarh sketching trip had gone in a jiffy. The first day it was all about Sundargarh town and the second day the beauty of Tangarmunda, its people and the food had left lasting impression on me. Everything from how the plan changed from Sambalpur to Sundargarh, our journey from Bhubaneswar to Sundargarh and the sketching experience had just been perfect. But the best was yet to come.

Read the first part of Sundargarh Sketching Trip here

Surreal Sarabgarh

09 Jan 2019

Sarabgarh Reservoir
Sarabgarh Reservoir

Kedar had planned a grand finale to our Sundargarh Sketching Trip. The destination was Sarabgarh Dam, which is approximately 30 kilometers from Sundargarh town. It was also the second day of the bundh which meant we had to leave the town early in the morning once again. By now we were quite used to the chill of the hard winter and got ready well in time. But our auto guy Ashish did not arrive. He had misplaced the auto keys and just could not find it. Due to bundh getting another vehicle was not going to be easy and almost impossible so early in the morning. But somehow none of us felt flustered. Probably the sequence of events in the past few days had given us a sense of calmness. Somehow we knew things will work out. And then suddenly Ashish arrived in his auto. He had managed to start his auto with the help of some jugaad. Wasting no time we got into the auto and though a little late our journey to Sarabgarh dam finally started. But the challenges were not over yet.

Transfixed
Transfixed

In a few minutes after going out of town, Ashish realized that he was out of gas. Being a day of complete shut down he was not hoping to find any gas station open. But once again we all were at peace and were just not getting worried and asked him to keep moving. And again as if a miracle there was this small gas station in the middle of nowhere waiting for us. Ashish was the happiest one at that point, but his joy lasted only a few seconds when he realized that he did not have the key to open the lock of the gas tank. But the trend for the day continued and a solution presented itself no later than the problem was encountered. One of the gas station staff tried to open the lock with his bike key and yes you guessed it right. The lock opened as if it was the original key. Sometimes reality is actually stranger than fiction.

Only when we reached Sarabgarh dam that we realized why Kedar had planned this as our ultimate sketching destination. This place was a paradise. It was something out of a fairy tale. Sarabgarh was Surreal, quiet and enchanting. As we were soaking up the beauty, Kedar had already started looking for lunch arrangements. We happened to find two villagers passing by and Kedar asked them about eateries in the vicinity. As expected there were none and out of the blue Kedar asked them if they could prepare lunch for us. We had just met these two people in the middle of nowhere for the first time in our lives and Kedar was expecting them to prepare lunch for us! But the biggest divine intervention was just about to happen. The elder of the two  instructed the younger man to get lunch prepared at his home. We just could not believe our luck. On top of that, the lone fisherman who had caught some fresh fish from the dam also presented himself to us. It was as if Biswajit’s prayer was answered. He was craving for fish earlier during our journey to Sarabgarh. I wanted to pinch myself to check if I was dreaming. But Sarabgarh was no less than a dream.

Lunch Menu at Guru's place
Lunch Menu at Guru’s place

Soon we found a great place to sketch. But problem with beautiful views is that…….. they are beautiful. This beauty can sometimes be overwhelming to the extent that one can easily get carried away by it and not pay attention to some basics of a painting like composition, abstraction and design etc. And somewhere in the middle of the painting when things don’t seem to work out you suddenly realize this and more often than not you feel like a fool. My first work at Sarabgarh dam was all about this struggle. What started in the most enthusiastic ways soon turned out to be a little more than a square foot of confusion and exasperation. But I did carry on and finished the painting. In the end it turned out to be one of the most popular works of the sketching trip; yet another miracle of the day. And for the second work I turned 180 degrees from my place and had this beautifully designed and abstracted scene in front of me. It was crying out to be painted and I obliged. And soon it was time for lunch and as we made way to our vehicle there was good news waiting for us.

Two cute members of Guru's family
Two cute members of Guru’s family

Ashish had found the keys. The keys were there in one of the pockets of his jacket while he had been looking everywhere for it. As our vehicle moved to our lunch destination he looked visibly upbeat and we too, were happy for him. As per our host’s instruction we had to drive up to Masabira village and then all we had to do was to ask anyone where Chuin’s house is. And that is exactly what we did and landed up at our host Chuin aka Guru’s place. Guru was not at home and we were a little hesitant to get inside the house, but Guru’s family welcomed us and served us lunch consisting of Rice, Fish curry and Aloo Bhaja. Sitting on mud floor smeared with cow dung under the thatched roof and having food so lovingly served to us on plates made up of Sal leaves in a person’s house we had met a couple of hours earlier and in a place that seemed to exist in a parallel reality, I could not help but feel a sense of gratitude. The food cooked so simply tasted like nothing I had eaten before, the modest house felt like the most luxurious mansion, the strangers seemed like family. A remote tribal village in Sundargarh, which I had never even heard of, felt like home. Surely this had to be the biggest miracle of the day.

Relishing the lunch at Guru's home
Relishing the lunch at Guru’s home

All good things eventually come to an end. We had to start our journey back to Sundargarh town in some time and had about an hour in our hands. So back at Sarabgarh dam I sketched vigorously. I wanted to make most of the time I had at Sarabgarh. I did two sketched at the same time, working intermittently of each of them painting as fast as I could. And then finally it was time to return.

The next morning we had to start our journey back to Bhubaneswar.

A Fitting Closure

10 Jan 2019

The previous night Ashish had made sure to keep his keys at the right place and was there on time to drop us at the bus stop. We caught the first bus to Sambalpur at 6:00 AM which reached its destination at half past eight. On reaching Sambalpur we moved straight to the temple of Samaleswari or Samalai, the residing goddess of western Odisha. Any trip to western Odisha is not complete without a visit to Samali temple. So we had decided to take the morning bus to Sambalpur which would give us about 5 to 6 hours before our train left from Sambalpur station. At the temple premises we took a room at the guest house and got ready for the day.

With Ashish, Guru and his Wife
With Ashish, Guru and his Wife

The temple was relatively less crowded and we had a good darshan of the goddess. After the darshan and some hot and delicious breakfast from a street vendor it was time to sketch again. As we settled into different corners of the temple premises for sketching the physical exertion of the last few days was starting to take its toll. My body just wanted to rest. But my mind was getting excited at the prospect of sketching the beautifully play of light and shade of Samali Temple. I somehow forced myself to focus and started sketching. And as the sketch slowly started to develop the physical exertion also went away. As the scene was well lit I was using a lot of primary unbroken colors in the sketch and probably those colors were working their magic on me.

Or may be it was the blessing of the goddess which had been guiding us through the last five days.

Sketching session was followed by delicious temple lunch prasad. And after a short nap it was time to return back.


Sundargarh has been a revelation. It was pitch perfect in everything an artist could ask for. The beauty of nature, the simplicity and warmth of the people, the simple nutritious and mouth watering food and a feel of transcendence in the air; it had everything. But there was even a bigger revelation. It was about the working of nature.

Nature has a rhythm. Sometimes we are lucky enough to get aligned to this rhythm in mind body and spirit. And when this happens everything that a person needs just present themselves to her… at the right time. All one need to do is to have faith in this force and walk on. And what follows is what every person truly wants on this earth.

True Bliss!

En Plein Air at Sarabgarh - 1, 09 Jan 2019
En Plein Air at Sarabgarh – 1, 09 Jan 2019

 

 

 

 

 

En Plein Air at Sarabgarh - 2, 09 Jan 2019
En Plein Air at Sarabgarh – 2, 09 Jan 2019

 

 

 

 

 

En Plein Air at Sarabgarh - 3, 09 Jan 2019
En Plein Air at Sarabgarh – 3, 09 Jan 2019

 

 

 

 

 

En Plein Air at Sarabgarh - 4, 09 Jan 2019
En Plein Air at Sarabgarh – 4, 09 Jan 2019

 

 

 

 

 

En Plein Air at Samalai Temple 10 Jan 2019
En Plein Air at Samalai Temple 10 Jan 2019

Sketching The Transcendent Sundargarh – I

Plan for a sketching trip of my sketching club to Sambalpur was in place; a perfect plan. Everything taken care of including stay, food, travel and even the locations that we were going to sketch at. Personally this was also going to be my first trip to western part of Odisha. Our art materials along with other not so necessary belongings had been neatly packed and we were super ready. But as it often happens with perfect plans, our plan too came crashing down in the eleventh hour.

On the eve of our train journey we got the news that there was going to be a two day Bundh at Sambalpur; which meant no food, conveyance or any safe places to paint at. Every person we talked to advised us not to go because in Sambalpur a Bundh means a complete shut down. We were heart broken and just could not digest the fact that our sketching trip was not going to happen. But after pulling ourselves together, we got together in a conference call and Kedar who stays at Sundargarh suggested to change our destination to Sundargarh which is about 100 kms beyond Sambalpur. All we had to do was to go to Sambalpur, take a train to Jharsuguda and then a bus to Sundargarh from there. But we had no arrangements there and hence we were a little skeptical about travelling so far with nothing in place. Kedar had only about 12 hours to work out the logistics. But that was the best alternative we had and we took it.

The Journey to Sundargarh

06 Jan 2019

We traveled to Sambalpur in Bhubaneswar-Bolangir intercity express and got down at Sambalpur Road station only to realize that is not the station we were supposed to get down at. So we got an auto and asked him to take us to the station that is in ‘Sambalpur City’, without realizing that Sambalpur City is yet another satellite station and not ‘Sambalpur Junction’ where we actually wanted to go to. Hence we landed up at this small station in the outskirts of Sambalpur without any public transport in near vicinity to take us to Sambalpur Junction. But guess what! The latest train to Jharsuguda was available from Sambalpur City station within the next twenty minutes and it was on time. And…. (hold your breaths)….it was not going to pass through Sambalpur Junction. We would never have got the train had we gone to Sambalpur Junction. And that is not all; the train was relatively empty and reached Jharsuguda on time. After a quick meal at Jharsuguda we immediately got a bus to Sundargarh and it had exactly four empty seats left (there were four of us), as if it was waiting for us. As soon as we got seated the bus left for Sundargarh.

With Students of Kalayatan Art College
With Students of Kalayatan Art College

After a journey full of welcome happenstances we reached Sundargarh bus station in the afternoon. Kedar joined us within few minutes and we took an auto to the hostel of Kalayatan Art College, where our stay arrangements had been made.  It was vacation time and the hostel was quite empty. Kedar who works as a lecturer at the same college had done very neat arrangements for us in the hostel. We quickly got rid of our baggage and ventured into the town. After a couple of hours of our town darshan we moved to the studio of Kalayatan Art College and did gesture study sketches for sometime with the students before dinner. Our sketching trip had now started in the true sense of it.

Capturing Scenic Sundargarh Town

07 Jan 2019

Sundargarh experiences very cold winters and being early part of January winter was at its peak. But missing the early morning light is the biggest crime a plein air painter could do and there was no other option than to brave the early morning chill and get ready. Hardship has its benefits and some of them are immediate. For us it came in the form of piping hot dosas, idlis and vadas at a nearby eatery. Food was not only hot, it tasted brilliant too. And thus with our souls satisfied and stomachs satiated we started our walk to Samalai temple which overlooks Ib river.

Ib river was quite dried up exposing its sandy bed and giving us an opportunity to paint from the middle of the river. It was something I had never done before and hence I rushed to the middle to find my spot from where I would be painting for the next couple of hours. A couple of minutes into my sketching, my adrenaline slowly stated to wear off and reality started to sink in. There was a steady breeze blowing which was amplified because of the  open expanse of the river bed. This chilly wind was really hurting. But gradually I got involved with my work and all the discomfort vanished. In under hundred minutes time I had completed my first work of our Sundargarh Sketching Trip which seemed to have a feel of the chilly wind; suffering does not go in vain after all.

The first painting at Tangarmunda
The first painting at Tangarmunda

I continued sketching a little more at the same place and then moved up to the temple where I took a place under the shade of the temple. As the temple is a significant landmark of Sundargarh town I thought of painting it from the place I was stationed. When I shared this work later on Facebook, one of my friends reminisced about his childhood memories attached to the temple. You never know how and when your work is going to touch people, but when it happens suddenly out of the blue like it did in this case, its always a great feeling. Many students from Kalayatan Art College had also joined us for the sketching session and all of them had done beautiful works. Our joint morning sketching session ended at the temple with some group pics and group selfies.

For afternoon session we moved to Sundargarh court premises. The court is an old British building painted in brick red color. My color intensity was not permitting me to get the actual color of the building while keeping it transparent. Hence I stepped down the tonal values of almost everything in the subject, so that their tonal relationships don’t change. This was a fun exercise to do and what I ended up with was a brighter painting. The day ended with some quick facial gesture sketching at Kalayatn Art College later in the evening.

Kid in a Candy Store

08 Jan 2019

All our works at Tangarmunda
All our works at Tangarmunda

For second day, Kedar had planned a trip to a nearby tribal village called Tangarmunda. It was the first day of Bundh in western Odisha and fearing roadblocks we left quite early in the morning for Tangarmunda by an auto. Upon reaching there Kedar booked lunch in advance at the only eatery near the village. The eatery deals with snacks and short eats, but the owner agreed to cook lunch for the five of us. With food taken care of we moved inside the village and whoa!! What a sight it was. The village was dotted with cow dung smeared mud hoses with tiled roofs. There were all types and sizes of trees everywhere; probably more than the number of residents. Most houses had stacks of hay piled neatly in their backyards for the cows. Hens and Goats roamed around freely and a few children played with them while others were busy playing cricket. The hazy winter light was casting soft dappled shadows on the walls of the houses and on the muddy roads where children were busy running alongside their cycle tyres which they rolled by hitting with a stick to keep it in motion and hence in balance. Anywhere I looked there was a great subject to be painted. This was a paradise for a painter. At Tangarmunda I felt like a Kid in a Candy store. Unfortunately I could not paint everything; I could manage only two paintings till lunch. But during this time we had managed to strike conversations with the villagers and kids. When we were leaving the location we even got an invitation for a meal during our next visit. But it was time for our immediate meal which was waiting for us at the village eatery.

Lunch at Tangarmunda
Lunch at Tangarmunda

We walked to the eatery and took our places inside the small shack. Soon we were served steaming hot rice, dal, tomato khata and a mixed veg dish seasoned with mustard and garlic. The meal made with very few ingredients was simple yet super delicious. We ate to our hearts content and for me it was a meal I would not forget for a long time.

The afternoon sketching session took place in the outskirts of Tangarmunda. As I was looking around trying to pick my subject, my eyes fell on Kadar who had already started working on his painting. I like sketching people in an outdoor environment. When people are unaware of themselves being sketched they stay natural. But problem is that you don’t know when they would change their posture completely or simply get up and go. So when you know that your co-sketcher is going to sit there at least for the next hour you don’t want to miss the opportunity of sketching him. So I happily sketched Kedar away in the most direct way possible and this sketch turned out to be one of my favorites of the trip.

Read The concluding part of Sketching trip to Sundargarh here
Kedar's Sketch 08 Jan 2019
Kedar’s Sketch 08 Jan 2019
En Plein Air at Ib river - I ; 07 Jan 19
En Plein Air at Ib river – I ; 07 Jan 19
En Plein Air at Ib river - II ; 07 Jan 19
En Plein Air at Ib river – II ; 07 Jan 19
En Plein AIr at Tangarmunda - I ; 08 Jan 2019
En Plein AIr at Tangarmunda – I ; 08 Jan 2019
En Plein AIr at Tangarmunda - II ; 08 Jan 2019
En Plein AIr at Tangarmunda – II ; 08 Jan 2019
En Plein Air at Sundargarh Court ; 07 Jan 19.JPG.JPG
En Plein Air at Sundargarh Court ; 07 Jan 19.JPG.JPG

On Education System in India

It is a well known fact that the current education system in India is a derivative of the education system put in place by the British during their rule. The system put in place by the British was mainly to reduce their administrative costs by producing low to mid level government officials. Unfortunately we still follow a similar style of education today. All it aims at doing is to produce job ready professionals. Below are a couple of the main features of the British education system that is prevalent even today.

  1. Our curriculum evaluates people on individual basis. There is no stress on doing things in a team and building confidence and trust in others.
  2. Examination and grading system seeks to evaluate students based on a single template. Evaluating students based on only few subjects in an individualistic way through the template of examinations is never good for the confidence level of a student. Moreover the down to 2 decimal places grades are also used by parents to compare and contrast and put undue pressure on students which further hampers their self esteem. This reminds me of a quote by Einstein, which goes like this. “Every person is a born genius. But if you judge a fish by its ability to swim, it will live its life believing itself to be a fool”.

These are just a few issues in our education system which has been there since the British rule. But there is a plethora of other evils which have plagued the education system in India. The reasons for this degradation are manifold. In the following sections this will be discussed. Our education system has degraded to machinery which only aims at producing individualistic conformist working class society, aspiring to make their lives better by earning more and more. It does not encourage independent thinking, inward gaze, creativity and intellectual development and many other things needed to build better individuals and a better society.

The Drawbacks of Current Education System

When India became independent education was seen as a tool of empowerment, which would bring about societal changes and find solution to problems in the country. And during that era education system probably did fulfill its purpose. But if we look at the situation today can we really say that the societal change envisioned at the time of independence has really occurred? Has poverty been eradicated? Has the rich poor gap been closed? In fact it has increased if numbers are to be believed; 26% of India’s wealth is held by a few elites. Few here does not refer to thousands. Not even hundreds. It refers to tens of people.

Even if education system has failed to bring about societal changes, does it really serve the purpose for which it has come to exist? Does it really produce high quality employable youth?

  1. A report from an independent survey claims that at least 47% of the Indian graduates were unemployable.
  2. 90% of the engineering graduates were deemed unemployable.
  3. Roughly 84% of the graduates did not have the cognitive ability to get jobs.
  4. 90% lacked fundamental English proficiency and basic communication skills to get jobs.

So our education does not solve societal problems. Neither does it produce high quality employable professionals. What are the reasons? Before finding functional and structural flaws lets look at the intent behind the dispersion and reception of education to understand this issue.

The stakeholders in the education machinery are students, parents, teachers, schools, society and the state. Lets examine education from each of their contexts.

  1. Student –In primary education level as higher marks and academic achievements are encouraged, getting higher marks or passing exams ends up becoming whole purpose of receiving education. In higher education level the intent is to score good marks to get a better job or clear tests so that one is not stuck behind.
  2. Parents – Most parents send their children to school so that education can secure their future. They look at education as a means of income, social status, security, better marriage prospect and a better material life. Parents send their children to expensive schools by spending a significant part of their earnings, so that their kids can get a better exposure. But again the idea behind getting better exposure is to keep ahead in the race and not necessarily become a better individual.
  3. School Administration –In case of government schools, running a school is about finishing paperwork, keeping things under control during school hours, acting only to keep things mostly functional. In case of private schools, it is about profits, marketing and keeping the numbers (results, achievements etc) right. Private schools in some instances have threatened to disown students with lower scores to keep the average scores of the school looking healthy.
  4. Teacher – Most of the teachers are teachers because they did not find a better job. So naturally teaching is just another job for them. It is not like there are no passionate teachers in India, but their number is very low.
  5. State –The policy makers lay down the law and common man just follows it. There is no two way flow between policy makers and the end users. Hence policy makers are really not accountable in our system. And then you also have the politically motivated syllabus in school to make matters even worse.
  6. Society – Indian society consists largely of the middle class. The middle class in general is a conformist one which like status quo. However it does expects revolutionaries and innovators to be churned out of the system. But not from their own homes.

None of the stakeholders except the state (probably) looks at education as a tool to build better individuals, better society and a better country. It is not thought of as a system to enable individuals realize their potential, build character, develop sensitivity to the world around them, develop a sense of responsibility, passion and ownership. Even state does not really look to improve the system continuously. And that has caused the system to become what it is; a rate race. Here are some of the manifestations of the misplaced purpose of education in Indian society.

  1. Everything and everywhere it is about rote memorization. Attitude to explore and learn is suppressed.
  2. Standardized tests with limited scope evaluate students. Hence the true potential of students is never explored.
  3. As education is seen as a means of financial security, it has become the major social yardstick.
  4. Extreme pressure on students to be in top bracket is also leading to increase in rate of student suicides. Limited seats in top education institutes have added to this pressure.
  5. Increasing dissatisfaction in students and job sector as most people are going through things and doing jobs that they do not like or do not have aptitude for.
  6. Poor standard of teachers and teaching methods.
  7. Extremely unhealthy competition among students.
  8. Development of very individualistic and opportunist environment.
  9. There is no scope for failure in the system as learning is not the real aim, but grades are.
  10. Knowledge gathered is bookish and hence inability to apply it in real life.
  11. Lack of critical thinking.
  12. Lack of broader worldview among students and hence inability to take decisions.
  13. Lack of ownership and apathy towards taking up responsibilities.
  14. Lack of emotional and intellectual development in students
  15. Lack of confidence and independence.

Other Concerns

In addition to the issues that we have in our education system we also need to examine what are other major gaps in it. Below are a few concerns that need to be raised.

  1. In recent times there has been a increase in the rate of farmer suicides. The number of registered farmers in the country is on a rapid decline. Youth is moving away from agriculture in search of ‘greener pastures’. Clearly majority of people do not want to take up agriculture as a profession. Unfortunately it all starts with the schooling system. The subjects that are taught at school never really give an exposure to student on agriculture. Neither does the system inspire anyone to become a farmer.
  2. On the similar lines the system is not designed to inspire people to become naturalists or soldiers or artists or social activists. The list of such professions is endless.
  3. Our education system is completely focused on the outside. The gaze is always outward. There is hardly anything in the curriculum that enables students to turn their gaze inwards.
  4. Only number and language based learning seems to be in curriculum. Experiential learning, Visual learning etc do not get any importance.
  5. Creativity is not nurtured. The grading system and template based evaluation tends to suppress creativity.

Can there be a solution!

Even if the way education is imparted is improved upon; lets say grades are abolished and focus is on learning, will students develop an attitude of understanding rather than mugging? Will parental and societal demands of ensuring a better future not drive them to innovate and find short-cuts.  And if education becomes more understanding oriented and not job oriented will society still be interested in education?

Unless there is a change of attitude towards education, it becomes very difficult to bring in any change. The attitude of all stakeholders is in question here. So we end up with a chicken and egg problem here, for which there may not be any right answers. One thing that is known for sure that change can not be brought about overnight. In this case especially it will be excruciatingly slow. As quantification of the effect of change will be difficult and initial changes will be minimal it will always be under scrutiny by the cynics.

Here are a few suggestions on how the loop can slowly be broken.

  1. School years are the formative years and hence the best time to instill  values and aspirations. So carry out different programs in schools to
    1. Expose students to agriculture, gardening, nature, animals, wildlife
    2. Pick up some reflective activity like sketching, theater, music or dance
    3. Do team and collaborative activities
    4. Carry out make and learn (instead of read and learn) activities (esp for science subjects)
    5. Help students realize their potential and aptitude through an environment of continuous open and intimate conversations (We already have numerous names for it like Adda, Bhat, Khatti etc).
    6. Discussion and Dialogue based learning of abstract subjects
  2. All the above and such activities will need to have an output that is tangible, which should be celebrated as an achievement.
  3. Schools must have a homogeneous mix of students from cities, villages and small towns.

My Solution

My solution to revamp the education system in India is to follow a holistic approach to education, which is aimed at developing creativity and intuition, values, critical thinking and positive attitude, ability to take decisions,  inward gaze and an attitude of continuous learning among students. Education should inspire. There are a very few schools in India that are having a similar approach to education. If they are brought under one umbrella and more such schools are built it will become a movement and will open up the way to achieve the dream. Secondly education should not only be restricted to schools. Home education is equally important if not more. Awareness among parents and guardians and few tools to enable them to guide and inspire their wards in the right direction would close the loop.

Here are a few areas of focus and the activities related to them. All areas are quite open ended and not specific and exact like maths and science. The learning is mostly visual, experiential and intuitive. It encourages creativity and innovation. A lot of group activities also build trust and camaraderie among children. These are also aimed at inspiring students to take up agriculture, nature wildlife conservation, arts as their profession.

  1. Nature Awareness and agricultural activities – We protect only that which we love. And a person who has not grown up in the lap of nature would find it difficult to really love nature.
    1. Setting up water holes and food bowls for birds in schools. As birds come down to have a bite or quench their thirst kids keep getting used to them and develop interest in them.
    2. Adoption of stray dogs and abandoned cats by school
    3. Maintenance of school garden by students
    4. Growing few fruits, vegetables, grains, pulses etc in school campus through natural farming method which also may sometime need maintaining a cow shed in school.
    5. Inclusion of these animals in school rituals and traditions. A school in Michigan provides a sanctuary to a mother duck who returns every year to lay eggs in the school. When the ducklings are old enough they walk through the hallway and led to a nearby water body with the help of students and staff. This now is a yearly ritual of the school.
    6. Every student being assigned to plant and maintain at least one tree through his schooling time.
    7. Students involved in growing food at home with their parents (again as a lifetime project).
    8. Students themselves spreading awareness about community farming, forestation to local communities and helping them setup community farms.
    9. Guided forest tours and camping. Not just a day affair, but spending a good week or so in the forests.
    10. Organic waste management training for parents and students.
  2. Art Education – No everyone can or should become artists. But everyone can and should practice and appreciate art. There are places in India which have this culture of learning, practicing and appreciating all forms of art and that reflects in the life style and outlook towards life of the people in those places. Such a culture must be nurtured from childhood.
    1. Visual art, Music, Dance and theater should be made compulsory subjects in schools and there must be enough time assigned for it.
    2. Art exhibitions, music and dance concerts, theater productions should be taken to schools or kids should be brought to such places on regular basis.
    3. A couple of theater, music, dance productions each and art shows must become compulsory output of every school on a yearly or half yearly basis
    4. Inter school competitions should be done on a regular basis and a lot of prestige should get attached to such competitions.
    5. Students to maintain sketchbooks as a visual journal. Sketchbook sharing sessions to be held in schools and among schools.
    6. Idols need to be created in these fields for students so that they can be inspired. Big names in these fields should be brought to schools and interact with kids.
    7. Group art projects and community art projects and installations.
    8. Storytelling and story writing
    9. Story book illustrations
    10. Schools or classes getting their own annual original story book published with illustrations, all done by students.

For specific and exact sciences here are a few suggestions that come to my mind.

  1. Labs should be setup in all schools. If there is no space for labs, class room can be converted to labs.
  2. Education should happen in labs. People should make first and then learn from it rather than the other way round.
  3. Labs work should carry more weight than theoretical evaluation in learning process.
  4. There should be team project works in lab and students should be evaluated as a team and as individual.
  5. For teaching theory there should be discussions and dialogues and the teacher should act as a guide and moderator.
  6. A form of teaching whereby absorbing knowledge rather than dissipating knowledge should be encouraged. Meaning the students proactively must question each other and the teacher instead of teacher pushing things down their throat.

Childhood'sEnd
Childhood’s End

I made this painting titled ‘Childhood’s End’ way back in 2011 and wrote the above piece more than a year earlier. Children are intuitive, creative and inquisitive by nature in varying degrees. Instead of nurturing that we have been suppressing it for a very long period of time now. But there are a few who have been doing their best to bring about a change. But a change is not possible here unless majority believe in it. Because the change here is a psychological one. Its a change in our value system. Hence a continuous dialogue is necessary. Support to those who are trying to bring changes is necessary. Even the smallest of actions is necessary. Otherwise our society will continue to chase it shadow be stuck in an infinite loop for ever.

Why I Paint What I Paint (And Don’t Paint What I Don’t)

I Don’t Paint to Make a Political Statement

No I don’t paint to address social issues. Neither do I paint to make a political statement. First of all I do not understand politics so well. All I understand is politics divides people. In today’s world of allegations, counter allegations, media choreographed events and heavily opinionated individuals I just don’t know what the truth is. Today someone makes me believe in something strongly, only to find out the very next day that it was all propaganda. With my limited knowledge about the world it also becomes extremely difficult to make a judgement on what is real and what is not. As an artist I seek truth and freedom through my work. Hence I choose to remain at a safe distance from this world of falsehood.

I paint my surroundings. But people can always find political meaning in it.
I paint my surroundings. But people can always find political meaning in it.

Suppose a cosmic event turns me omniscient and under the heavy pressure of moral obligation (which all superheros seem to have) I paint to change the world. But who is going to listen to me? Millions of art works get created around the world everyday. Many of them even by well known artists and artists with superlative skills. If people have to listen to someone in all probabilities they would listen to those artists; not me. And then is anyone really listening? Today everyone only has something to say. Social media has made it much easier for people to just keep saying something. Everyone wants to be heard. In effect there is hardly anyone who listens. In conclusion the paintings I would be making to change the world would end up changing me into a grumpy painter, because no one would just listen to me. By the way are you still listening to me!!

Irrespective of what I have said till now, it can so happen that I can still stand for something I fiercely believe in. And to bring about those changes I have two options. In the first one I take direct action to address the issue. For example to do my bit on environment I get a few friends together and we can have a tree planting drive. Not only we plant the trees, but we take care of it till it can stand on its own. Second option is to paint a masterpiece on climate change and hang it in a sophisticated air conditioned gallery under impressive lighting system and open to a packed house of art lovers and collectors. I am sure the second option would be far less effective to do my bit on environment. In fact all the air conditioning, lights, high end cars of the art lovers would have generated sufficient carbon footprint to offset whatever change my brilliant painting can bring about.

What About Finding My Own Voice!

spot the difference
Can you spot the difference? On top is a preserved fish in a natural history museum while at the bottom is a preserved fish that sold for millions as an art work.

But after all this blabbering they would still ask me the million dollar question. What about finding my own voice? What do they really mean when they say that? Is it being different from rest of the crew? Is it being original? But I really can not do it for the sake of it. Inventing something for the sake of it and hoping that it works is not going to work at all. That is more like style for style sake. It is the pursuit of excellence that is objective and something real. To be able to produce highest quality of work (irrespective of the subject) while working with lot of freedom and heightened sense of inner and outer perception is something that I pursue (Btw freedom is not about moving brush aimlessly on the canvas). And in that journey somewhere I hope I find my voice. And then lose it until I find a new voice. Finding my voice or developing my style is going to be just incidental. And it is also not going to be constant. It will always be work in progress. It will always be evolving. I can not get trapped in it.

In case you are wondering what this is I’ll surprise you by saying that this is a painting titled Blood Red Mirror which also sold for millions

Human beings are meaning making machines. They will find meaning where there is absolutely no hint of it. And when people find their meaning in being at a higher intellectual plane than their counterparts then they can stoop to the lowest level of pretension. A flat red canvas or a stuffed animal meant for natural history museum can sell for millions. As a person my idea of life’s journey is to go beyond judgement and assumptions that create such meanings. Its a journey based on observation and active listening of the without and the within. It is a journey to understand as things are and not as we assume them to be. That is how I believe I can go close to Truth and Freedom.

Why I paint (What I paint)

The joy experienced in painting with freedom stemming from skill is sometimes also felt by others
The joy experienced in painting with freedom stemming from pursuit of excellence is sometimes also felt by others

In case you have made it till here I would disappoint you now by saying that the above outburst may be completely unnecessary to understand why I paint what I paint. I paint landscapes, nature, animals, birds, humans, faces, figures, scenes from everyday life, things in my immediate surrounding because I just like to paint them. That is it. Direct interaction with nature and life around me is what inspires and motivates me to paint. That is the person who I am. For me being authentic is originality and if I persevere long enough with my authenticity it would eventually seep through into my work.

By painting what I paint I do get to see myself in a mirror. My work not only tells me who I am it also tells me who I can be. It tells me about a better self that I can become. May be the act of painting becomes independent of the subject someday. May be by painting something else I still would get to see the proverbial mirror. But probably it would be devoid of the joy I experience. And living without joy is something that is very hard for me to afford.

Enough said as of now. I’ll probably be singing a new song tomorrow as my worldview broadens. Tomorrow probably I’ll be laughing at what I have written now (Not that I am not smiling right now). But as of now I got to ‘Shut Up and Paint’.

shut up and paint meme by Milind Mulick
Shut up and paint meme by watercolor master Mr Milind Mulick

The Creative Process – Painting Outdoors

“Painting from nature is not copying the object; it is realizing one’s sensations.” -Cezanne


The sparkling morning dew on the grass that’s still refreshingly damp to touch. The whispering wind that caresses, carrying on with it the faint whiff of wildflowers and the sounds of roosting birds. The rains that darken the sky, mist the horizon and tap a melody over rustling leaves. This is what the artist is faced with when painting en plein air – where all his senses of sight, smell, sound and touch are continuously engaged, where he is in direct contact with nature’s life force. And in turn, this lends to his art something that is so invigorating – that it never fails to touch a chord with the viewer. A work done in the comfort of indoors may be technically more accomplished, but nothing can match the vitality of a watercolor painted outdoor in natural light!

The above paragraph was penned down by one of my writer friends called Amit. And I think it really captures the essence of painting en plein air. Sometimes these forces of nature have such a strong effect that a painting just happens spontaneously. But still most times there is a creative process that is at work when artists paint outdoors. This process is necessary not only to make successful paintings, but also to maximize learning and the joy of painting outdoors. This week I am headed to IIT Kharagpur, my Alma Mater to capture few of its beautiful location en plein air. And I thought it will be a good time to discuss about my creative process of painting outdoors.

This is the second post in my series of posts on Creative process. In the first post of this series, I have talked about the creative process in a generic way.

The Creative Process of Painting Outdoors

Identifying subject and the sweet spot

Outdoor Painting Equipment
Outdoor Painting Equipment

The first thing that happens in any creative process is Inspiration. Morning and afternoon light has the capability to turn mundane scenes to great subjects. Hence I generally prefer to look for inspiration in the morning or in the afternoon and avoid the flat noon light. A good subject does not necessarily mean a very beautiful scene. In fact sometimes a very beautiful scene may not turn out to be a great subject. What I aim to find in a scene is basically big abstract shapes, play of light and may be an interesting perspective. What I avoid is is clutter of too many shapes and colors. When I have found my subject, the next task is to find a good place to station myself for the next 2-3 hours from where I can observe the subject and paint. In fact the spot from where I paint generally becomes more important than the subject itself because if I am not comfortable in a place it is difficult for me to paint. When I find the perfect place for the perfect subject I call it sweet spot. All this exercise of finding a sweet spot involves quiet a bit of walking and exploration. Hence I keep my outdoor equipment very light and minimal and paint on papers that are no bigger than 11 x 15 inch (quarter sheet).

Getting a Feel

sketching to get a feel of surroundings
sketching to get a feel of surroundings

To begin with I only take out my portable chair and sketchbook and just start sketching anything that catches my eye. People, trees, buildings, cars, bikes, lamp post… It could just be anything. I just sketch to get a feel of the surrounding. Most of the times I would get my figures which later come into my paintings from these sketches itself. This exercise of getting a feel this way sets off the creative process of painting outdoors and it kind of prepares me mentally.

The Thumbnail and Idea Sketches

detail sketch of the temple and thumbnail
detail sketch of the temple and thumbnail

When I have sketched enough I start narrowing down on the scene that I would be painting. I look around through a view finder made with my palms to get an idea of the portion of the scene to paint. Squinting helps to identify the big shapes in the subject at this time. When I have found my subject I do a few thumbnail/composition studies to reduce the subject to 2-3 major tonal shapes. In these sketches I may move things around, add something that may not be there (without taking away from the subject), merge shapes together. This is an exercise to get my composition right without losing the tonal layout. Sometime I even color these sketches lightly to get an idea if my color scheme will work or not.

Execution – Spontaneity v/s Original Idea

color sketch
color sketch

When I am done with my preparation I finally setup my easel to paint. At this point I feel I have got it all worked out in my head. I feel very confident of making a great painting. I draw my subject and then start my painting with great enthusiasm. But somewhere in the middle of the painting many a times my world comes crashing down. I find myself completely lost. After all the medium I paint in is watercolor. And it has a mind of its own. It has its own powers to guide the painting. And when that happens its always better to go with the flow. Its better to change my plans and go in the direction watercolor wants me to go. Believe me or not, most of the times it does result in a better painting. The best parts in the paintings actually turns out to be what I did not paint, so to say.

Reflection

A sketh with color notes
A sketch with color notes

Ninety Nine percent of the times I am not happy with my painting on location.  When I get back home I put my work in a drawer or a corner so that I cant see it for a few days. When I see it after a few days it does look much better. It is probably because I do not have the actual scene in front of me to compare with. But at the same time I look at it critically and if needed I make some tonal or color corrections. One trick I learnt from a friend is to take picture of the painting, print it and then try the corrections on the print first  to check if it works or not. This way I can be sure that the changes to the painting will not kill it at least.

Indoor v/s Outdoor

somedays its just about sketching
some days its just about sketching

There are three major differences between working in the studio and working outdoors. First is the time factor. When you are painting outdoors you have to finish (or almost finish) your painting within a shorter time period. Second is the tools and materials that you can use will always remain limited. And third is that the outdoor environment is very dynamic and can be very uncomfortable. The secret to painting outdoors is to turn these into positives. Painting fast with a purpose often takes away over thinking and brings in spontaneity and freshness. Working with limited material makes the work simple which is the hall mark of a great watercolor work. And the dynamic environment is a great source of learning and also brings in new elements to one’s work.

In the end I would stress upon the fact that this is just a generalized process I follow. But in reality sometimes I don’t sketch at all and directly paint while at other times I keep sketching and never paint. While a process can help you never be afraid to go with your gut feel. Its more fun that way.

En plein air Mausima temple, Bhubaneswar
En plein air Mausima temple, Bhubaneswar
En plein air Aswem beach, Goa
En plein air Aswem beach, Goa
En plein air Distillery District, Toronto
En plein air Distillery District, Toronto
En plein air Mukteswar temple, Bhubaneswar
En plein air Mukteswar temple, Bhubaneswar
En plein air Veggies, IIT Kharagpur
En plein air Veggies, IIT Kharagpur

The Creative Process of making Art 2 : Reinventing Oneself

There are times when you could be at the top of your game. Painting well, painting in a good rhythm, creating masterpieces on a regular basis. But still the satisfaction of creating them is a short lived one. This little voice in your head starts whispering in your ear and keeps telling you that you have become too comfortable. And when that happens it is a tricky area to be in for an artist. You know you are in a good place and common sense tells you to enjoy it as long as it lasts. But then the creator inside you never likes to be ‘comfortable’ and wants to create something new. And funnily enough this situation is the trigger to reinventing oneself; Yet another creative process of making art.

I too am trying to reinvent myself and in this post I’ll share my method which I have followed till now.

The Comfort Zone Trap

Spontaneous creation of from a 'blank' state of mind
Spontaneous creation of from a ‘blank’ state of mind

The comfort zone builds up slowly. But it surely happens multiple times in a creative journey. Its a nice place to be in, but not for long. Because the more you get attached to it the more difficult it becomes for the artist in you to develop. So its good to be aware of this fact and just keep doing a sanity check once in a while if you are getting into the trap. A close look at your recent works will help you. Check if a certain pattern is glaring at you from those works. Check if you are getting repetitive. Do an honest assessment and your works will tell you if you are slipping into a comfort zone.

Well I did not do any such checks. I just strongly felt I need to do something new. And that I guess came from subconsciously seeing a pattern in my works.

Starting From Blank

Refining the spontaneous sketch during conscious exploration phase
Refining the spontaneous sketch during conscious exploration phase

You have identified that you are in a comfort zone and you want to break out from it. But now what. How do you let go of your style to do something new that you are not even aware of. This is a  good problem to solve in the creative process of making art. I am going to tell you the process I followed and its just one way of doing things. You can invent your own method. You can even try my method. It is fun by the way.

Conscious Exploration of 'new style'
Conscious Exploration of ‘new style’

I started from blank. I also made sure that I don’t use my regular paper, brushes and palette. First I arranged my paper, paint and brushes around me so that I can start painting as soon as I want to. Then I randomly picked a reference photo without looking at it and then closed my eyes. Next I visualized darkness and meditate on that to allow my mind to become empty. At some point I opened my eyes, looked at the reference pic  for a few seconds and then started painting. I just let my hand move as fast as possible in a subconscious and spontaneous manner. I took around 10-15 minutes to paint and then went away from my easel. When I came back to it after sometime I tried to find a new visual language in it which I can pick up and explore further.

Explore and Allow Yourself to Fail

Conscious Exploration of 'new style'
Conscious Exploration of ‘new style’

And I did find something I could pick up on. In this case because of the nature of the paper I had to limit my washes to light ones and number of layers to only two. And as I had ‘thrown’ paint at the paper, some parts of the painting was not painted. I had taken a spontaneous decision and had ‘drawn’ the unpainted parts with a rigger brush using black paint. So I decided to try these things out. That is

  1. ‘Throwing Paint and leaving a lot of white of the paper
  2. Limiting maximum layers to only two
  3. ‘Drawing’ with rigger to suggest the unpainted parts.
Conscious Exploration of 'new style'
Conscious Exploration of ‘new style’

Now again this step is about exploration just like the last step. But this is more conscious while the previous step was more subconscious effort. In this step as you can see from the pictures I was trying different ways of ‘throwing’ paint and leaving out whites and also different ways of drawing the unpainted details. Some seem to work while other did not. The idea here is to paint with abandon and try things without fear. The more you fail the more you learn. Allow yourself to fail in this step of Creative Process of making Art.

Finding the ‘New’

The whole idea behind the previous step of conscious exploration is to get used to the new thing you have found and establish it in your mind. The paintings that did not work teach you what to avoid and the ones that worked teach you what looks good. This way your decision making becomes better in your new found style. And as you keep painting more and more holding on to the spirit of the new method this decision making gets more refined and your muscle memory also get stronger. And then there comes a time when you become really good at it and the next comfort zone sets in. And then its time to break the barriers all over again.


Conscious Exploration of 'new style'
Conscious Exploration of ‘new style’

As far as my exploration goes there was a divine intervention. One of my idols happened to nudge me a little to align me to the right direction through a comment on one of the works I posted on Facebook. Now I’ll try to look for subjects to suit this new style and keep refining it. As I keep at it hopefully I’ll find a new  visual language somewhere on the way. And again hopefully that would lead to a set of accomplished and satisfying works till I get dissatisfied again.

The Creative Process of Making Art 1 : Generic Creative Process

As an artist, there is this particular question that I often face from different people on a daily basis. I am sure all my artist friends around the world must be facing this question too. And the question is “How muchtime do I typically take to make a painting”! I generally answer this question as, “Anything between a few minutes to a few years”. And then the eyebrows start to get raised.

The Creative Process

People often look at the time taken to make a piece of art as when a person is actually painting. And that time for me ranges from a few minutes to a few hours. But that is just the final execution time for the painting. All the time spent before that to reach that point in time when I am actually painting is more important and that time is highly variable. All the thoughts processed, all the ideas explored, all the actions taken to crystallize the idea and get clarity (many times just trusting intuition) and every other little things done to reach a point when I start to put colors on paper (including the action of putting colors on paper) is what can be called as my Creative Process of making Art. And this process varies depending on whether I am working outdoors or at the studio, working from life or working from photographs, working on some painting of my own or working on a commission.

Though its termed as a process its not necessarily a set of steps that I follow or have to be followed by anyone. The creative process sometimes can be purely spontaneous while at other times its methodical. But generally it is a mix of method and madness most of the times. In this series of posts I’ll take you through my creative process for different contexts. In this post I’ll touch upon my creative process in very broad terms.

Creative process of making art
Creative process of making art

Inspiration

there is no dearth of inspiration in nature
There is no dearth of inspiration in nature

In my opinion art can not happen without inspiration. Inspiration is basically that strong and sudden emotion that makes you want to go and create. It can come anywhere and anytime. It can come from a beautiful scene, a song, a story, from another art work or it can just be idea that strikes you. Inspiration can come from anywhere and many times it is from places you least expect. But unless you are looking for it there is a very small probability that it is going to strike you. So to begin the creative process look for inspiration and let it strike you.

Exploration

While painting outdoors I just sketch anything that catches my eye to form an idea
While painting outdoors I just sketch anything that catches my eye to form an idea

Just because you have been inspired, it does not mean it can turn into a master piece right away. However in some cases inspirations seems to give birth to great art works directly. It seems so because rest of the creative process happens inside artist’s head and that can not be observed externally.

When inspiration strikes, the next step is to search for that idea which would express your intention (born out of the inspiring moment) clearly on canvas. This is where imagination starts to come into play and continues to play a role in rest of the process. For me just sketching without any fixed ideas in head (exploring) or making small thumbnail studies helps in reaching the idea that would work on paper. Sometimes nothing works. In such cases just give it some time and space and the idea would come when you have almost forgotten about it.

Research

Many a times a painting needs some background research for factual correctness. For example if you are painting a scene from a bygone era you can not paint the figures with cell phones in their hands. You need to find out about things like clothing, vehicles, architecture etc of that period. Research typically includes reading, internet searches, talking to experts, travel and discussing with other people. While painting outdoors this process is much simpler as the subject is right in front of you.

Preparation

This stage consists  of a lot of sketching if I am painting from a photograph. I generally use different mediums to sketch. I also make sketches of different sizes. While painting outdoors also I do a few sketches of my surroundings to get a feel of the place.When you sketch your hands and mind warm up and ideas start to get crystallized. It brings clarity in your head.

This stage may involve learning to work with a new medium or picking up a new skill or technique. In such cases preparation time is typically a few months to few years. The exploration stage also involves sketching. But here the sketches are done with some idea and intent unlike the free sketching in exploration stage.

Feeling for the ‘Aha’ moment

There are only subtle differences in these two sketches. But the Aha moment came for the one on the right probably because of the difference in lighting
There are only subtle differences in these two sketches. But the Aha moment came for the one on the right probably because of the difference in lighting

This is the stage that is quite elastic in terms of time. Sometimes I am okay with the first sketch itself. And more often than not it takes many sketches to reach that ‘Aha’ moment. Its that moment when the sketch is able to match the unseen vision. And it does not have to be the latest sketch you would have done. It could be an earlier sketch which did not appeal to you when it was done. But later when you see it with a fresh mind it seems to work. Here you can ask how can a sketch match up to something that is still not clearly visible even in your head. Well the question is absolutely valid. The eureka moment is actually intuitive and its like a spontaneous uplifting emotion that I have come to trust. And when that moment comes I dont explore any further. That sketch becomoes the reference for my final painting.

Sometimes that ‘Aha’ moment never comes. In such cases I dont go ahead with the painting. But sometimes I just looks at technicalities of the composition,  color scheme etc and go ahead with the final work just to see how it turns out.

Execution

This is the implementation stage where the final painting is executed. All the previous process steps put together can be called as the build up stage which as I said earlier can last from a few minutes to few months and can go even up to years. All that time helps to bring clarity and confidence for executing the final work. But that clarity and confidence does not have to be 100%. In fact for me it has never been 100%. There is always room for spontaneity and improvisations. Especially when working with watercolors there has to enough room for things to happen naturally on paper.

Avoiding the ‘Oh No’ moment

Most paintings are killed when they begin to approach completion. A false stroke here and there towards the end of painting especially when working with watercolors can spoil all the good work that you would have done before that. So I prefer to be careful and take time to do the final touches in a painting to avoid the ‘Oh no’ moment.

Contrary to what I have said here sometimes an unintended stroke has actually worked for the painting. But the chance of that happening is very low.

Evaluation and Adjustments

The top painting was rejected after evaluation stage and painting below was done at the back of the paper.
The top painting was rejected after evaluation stage and painting below was done at the back of the paper.

When a painting has just been done one can be very attached to it. At times you may never see any glaring issues with it and at other times you may find faults even where there is none. So when I finish a painting I put it away for a few days. Typically 2-3 weeks works fine. Then I come back to it and do a critical evaluation. Depending on the evaluation I may do some minor changes and adjustments. But I dont do any major changes. If there are huge issues with the paintings I dump it in rejects drawer. Sometimes I paint it again on new paper or on the backside of the paper. Cropping the picture is also one of the things I sometimes resort to.

Learning

The creative process does not stop when a painting is done. You would always learn something new (however small it may be) from every painting. Its a good idea to document it by taking pictures and making a note somewhere. You can also take feedback from appropriate persons about your work and see how can you improve it. Many a times you stumble upon a technique, brush stroke or color mix in the process of making a painting. Make a note of it in your sketchbook and see how can you use it in your subsequent work.

The creative process is not linear. Its a loop and hence a never ending process. An artist just keeps traversing the loop again and again throughout his life. But every traversal of the loop makes her a better artist and her works more mature. Creative process is like a roller coaster ride of emotions. Generally the lows are more than the highs. But the high, when it comes is that of pure joy.