This installation is an exploration of the delicate balance between life and death, hope and decay. It reflects on the transient nature of existence and the sustenance that carries us through each moment. The installation features living plants and flowers, nourished by saline water bottles—collected from hospitals, where they were once symbols of healing and resilience. These bottles now serve as vessels sustaining the life of the plants. As long as they are fed by the saline, they continue to thrive, representing the hope and courage that sustain us through life’s challenges.
However, the inevitable decay of some flowers during the exhibition symbolizes the transient nature of life. The moment the flow of life-giving saline ceases, the plants begin to wither, mirroring the fragility of existence and the passage of time. The installation invites viewers to reflect on the beauty and pain of life, the fleeting moments we cherish, and the resilience needed to endure until the very end.
This work is a tribute to the strength found in the face of mortality and the recognition that even in the shadow of death, life remains—vibrant, fragile, and profoundly meaningful.
The Protectors is an immersive installation that delves into the complex tapestry of Nepal’s cultural landscape, exploring the interplay between cultural diversity, external influences, and the need for safeguarding traditions. Against the backdrop of a rich cultural history, the project reflects on the impact of neo-cultural colonialism, particularly during the transformative period of the late ’90s to the early 2000s.
Motivated by a poignant encounter at a Buddhist Monastery near Kathmandu, where child monks engaged in war drills using makeshift weapons, I was compelled to address the subtle yet profound manifestations of neo-cultural colonialism. Plastic war toys flooding the market during that era became tools of influence, steering the narrative towards conflict and disruption. The traditional toys of the region were displaced, altering the cultural dynamics and leaving an indelible mark on the young monks at play.
The Protectors installation is a nuanced commentary on this cultural shift. It embodies three distinct protectors: Bhairava/Mahakala, symbolizing the core of religious faith and its unwavering defense; the forces of neo-cultural colonialism, portraying themselves as exclusive guardians of global civilization; and local communities, resilient in preserving their cultural identity amidst external pressures.
The art comprises a wooden mask of Bhairava/Mahakala, representative of religious devotion and cultural fortitude; plastic military toys from the 2000s market, emblematic of external interference; and a body cast of the artist, symbolizing the local community’s resilience. These elements coalesce in a visually striking narrative, drawing inspiration from the timeless tale of Gulliver’s Travels. While some may critique such stories for their colonial associations, Gulliver, in my interpretation, emerges as a superhero akin to the mythical protector Bhairava/Mahakala.
The fabrication process involves creating a fiberglass cast of half of my body, adorned with traditional symbols. This cast is juxtaposed against reflector, showcasing the Bhairava/Mahakala mask, plastic war toys, and red Yek hair traditionally used in Lakhe dance. The visual language intentionally evokes the fantastical and thought-provoking realm of Gulliver’s Travels, serving as a metaphorical bridge between the past and present.
In essence, The Protectors advocates for the preservation and celebration of local cultural diversity. It calls for a critical examination of external influences, urging a balanced approach to ensure the continuity of Nepal’s rich cultural tapestry. The installation invites viewers to contemplate the intricate dynamics between tradition and change, urging us all to become guardians of our cultural heritage.
“Faith Beyond Understanding” encapsulates the profound journey through the vicissitudes of life, where attempts at control yield to the relentless march of time. Emerging from personal crucibles in 2022—a year marked by the loss of a cherished grandmother and the heart-wrenching diagnosis of my wife, with cancer—the performance delves into the transformative potency of spiritual resilience.
As she underwent a tumultuous six-month treatment in Iran, hindered by an internet ban suppressing communication, each moment felt suspended, breaths weighed with the struggles of the night. In this crucible, I found solace beyond religious confines, embracing the Om sound’s ancient vibrational cadence in meditation—an anchor of spirituality and strength during the darkest hours.
“Faith Beyond Understanding” manifests as a series of a minimum 1-hour visceral exploration, choreographing deliberate breaths interwoven with Om chants—a ritual that sustained me in vulnerability. Exerting conscious control over altered bodily functions, the performance becomes a visual testament. The Om sound, imprinted on the surface with each exhale using a Om symbol, echoes the resilience engrained in endurance. In conclusion, this performance goes beyond personal tribulations, resonating with a universal truth—life’s facets elude control, but within spiritual beliefs lies the fortitude to navigate its tempests. “Faith Beyond Understanding” underscores the Om sound’s transcendent potency, emphasizing the profound significance of self-control amid adversity.
In this artwork, I delve into the intimate and elusive memories of my early childhood, specifically between the ages of 4 and 6. These moments hold a special place in my heart but are tinged with a sense of haziness and obscurity, as the passage of time has softened their edges.
Through my creative expression, I aim to capture the essence of these cherished yet blurry incidents. I portray fragments of experiences that have shaped my early identity, evoking emotions and sensations that are both vivid and fleeting.
The use of subtle and muted tones in my artwork reflects the delicacy with which these memories cling to the recesses of my mind. Like wisps of dreams, they emerge and fade, leaving behind a sense of nostalgia and wonder.
As viewers engage with my art, I hope they find a connection to their own recollections of childhood. It is an invitation to explore the fleeting nature of memory and the significance of these formative years in shaping who we become.
In this exploration of my past, I seek not to provide clear and coherent narratives but to celebrate the beauty and enigma of these cherished memories that remain forever, just beyond the grasp of full clarity.
काठमाडौं । यो ‘दि म्यानेकेन सिभिलाईजेशन’ श्रृङ्खलाको ‘सबलाईम’ नामक चित्र हो जुन सन् २०१७ मा मैले बनाएको हुँ । क्यानभासमा एक्रेलिक कलर,आल्मुनिएम पाता र इनामेल कलरबाट मिक्स मिडियामा बनाइएको यो चित्र सन् २०१९ मा भएको म्यानेकेन सभ्यताका नकोरिएका अनुहारहरु नामक एकल चित्रकला प्रदर्शनीमा सामेल थियो ।
म्यानेकेन सभ्यता श्रृङ्खला मेरै एउटा कवितामा आधारित कलाहरुको श्रृङ्खला हो। जुन एक मानव सभ्यता अर्को मानव शक्तिबाट तहसनहस पार्ने क्रम विरुद्धको एउटा आवाज हो।
सबलाईममा अन्तरनिहित मौलिकतामा हामीले प्राप्त गर्ने स्वर्गीय आनन्दको क्षणिक पललाई देखाइएको छ। यसमा बाङ्लादेशको रिक्सा आर्टको पनि प्रयोग गरिएको छ। जसले त्यस भेगको गौरवमय शहरी लोककलाको प्रतिनिधित्व गर्दछ। तर बिडम्बना, यो सँस्कृति पनि अरु स्थानीय सँस्कृति एवं परम्पराहरु जस्तै बाह्य साँस्कृतिक अतिक्रमणबाट प्रभावित हुँदै गएको छ ।
कविता
म्यानेकेन सभ्यता
समुन्नत सतहमा एकत्रित मस्तिस्कहरु क्रमशः ताछिनेछन् ।
धर्म, सँस्कृति र सभ्यताको अचानोमा राखि
बगरेहरुले फेरि टुक्राटुक्रा पार्नेछन् ।
स्वतन्त्रता र अस्तित्वका लागि चिच्याउने गलाहरु
निर्ममतापूर्वक निमोठिनेछन् ।
तिमी टुक्रनेछौ, म टुक्रनेछु र हामीहरु टुक्रनेछौँ ।
हाम्रो पहिचान निर्जन मरुभुमिमा छरिनेछ ।
इतिहास तर्साउने हिटलरहरुका भीमकाय हातहरुले
युगौँका लागि फेरि थिच्नेछन् ।
फेरि एकपटक स्टालिनहरुको ठाडो आदेशमा
फासिस्टहरुको कुरुप हातहरुवाट हाम्रो दाहसंस्कार गरिनेछ ।
दानव दाँतहरुले हाम्रा मासंपेशीका प्रत्येक त्यान्द्राहरु लुछ्नेछन् ।
मानव अस्तित्वका लागि मात्र हामीहरुलाइ उभ्याइनेछ ।
र कुरुप म्यानेकेनका रुपमा विकसित गरी
मानव सभ्यताको कथित नयाँ खोल ओडाइनेछ ।
म्यानेकेन सभ्यता हामीलाई अपाच्य हुनसक्ला ।
तर, हिटलर र स्टालिनहरुले बुख्याँचा बनाई
हाम्रो आँगनमा गाड्नेछन् ।
र हामीलाई म्यानेकेनयुगीन जीव बन्न बाध्य बनाउनेछन् ।
म्यानेकेन युगिन जीवको रुपमा हाम्रो बयान इतिहासमा गरिनेछ ।
फेरि एकपटक हामी अजन्ताका अँध्यारा भित्ताहरुमा
आफ्नो पहिचान कोर्न प्रयेत्न गर्नेछौँ ।
दाभिन्चिहरु अन्तिम भोजको निर्माणमा जुट्नेछन् ।
अनि पिकासोको जन्म हुन्छ र ग्वर्निकाको पुर्ननिर्माण हुन्छ । तर एक काल्पनिक दन्त्यकथाको रुपमा ।
किनभने यस युगमा अजन्ताका अँध्यारा गुफाहरु
नागासाकी र हिरोसिमाका तीता अतित सम्झाउने
भग्नावशेषमा परिणत गरिनेछ ।
दाभिन्चि र पिकासोहरु भ्रुण अवस्थामा नै मारिनेछन् ।
जुपिटर प्रधानको कलामा सानैदेखि रुची थियो । उनी विशेष शिल्प कलामा ध्यान दिन्थे । पिता साहित्यकार र हजुरबुवा भुवनलाल प्रधान पनि इतिहासविद् तथा कला मर्मज्ञ भएकाले सानैदेखि यिनमा कला र साहित्यसँग साइनो गाँसियो ।
एसएलसी उत्तीर्ण गरेपछि इन्जिनियरिङ पढ्ने अभिलाषा बोकेका थिए, तर भर्ना भए अमृत साइन्स क्याम्पसमा । रुचीको विषय पढ्न नपाएकाले विज्ञानमा यिनले राम्रो गर्न सकेनन्। उनमा चित्रकलाको नशा चढेको थियो । जुन देखेर पिताले आफूलाई निकै हौस्याएको यिनको सम्झनामा छ । कला सिक्न भनी सिर्जना कलेज पुगेका जुपिटरलाई त्यहाँ पनि प्रवेश परीक्षा दिनुपर्ने थाहा भयो । उनी त्यसपछि परीक्षा नै नदिई बाहिरिए । त्यसपछि पिताकै दवाबमा २०५४ सालमा ललित कलामा क्याम्पसमा भर्ना हुन पुगे ।
अनेकौं पटक सामूहिक र एकल कला प्रदर्शनी गरिसकेका जुपिटरले कलाको सर्वाङ्गीण विकासका लागि ‘स्पेस ए’ नामको संस्था पनि खोलेका छन् । क्याम्पस प्रवेश गरे लगतै यिनी विभिन्न कला प्रतियोगितामा कला कार्यशालामा भाग लिन सुरू गरे। केही समय विद्यार्थी राजनीतिमा पनि सक्रिय रहे । प्रमाणपत्र तह पास गरेपछि स्नातकसम्म आइपुग्दा यिनमा कलाका बारेमा मानसिक उथल पुथल सुरू भइरहेको थियो। यिनी परम्परागत भन्दा बेग्लै किसिमले आफ्ना सिर्जनालाई अगाडि बढाउन चाहन्थे, तर क्याम्पसमा उही पुरानै ढर्राको अध्यापन शैलीमा पढ्नुपर्ने बाध्यताले यिनी निराश हुँदै गए। नयाँ सोच र अध्यापन शैलीका बारेमा बेलाबेलामा यिनको प्राध्यापकसँग बैचारिक बहस नै चल्थ्यो।
स्नातकपछि स्कूलको व्यवसायमा सरिक हुँदै गर्दा बाङ्लादेशमा सामूहिक कला प्रदर्शनी गर्ने निमन्त्रणा आयो। त्यहाँ उनलाई विश्वविद्यालय घुम्ने र वातावरण बुझ्ने अवसर मिल्यो। प्रदर्शनीका लागि सँगै गएकी अर्की कलाकार सौरगङ्गा दर्शनधारीको विशेष अनुरोधमा यी दुवै त्यहीँकै विश्वविद्यालयमा स्नातकोत्तर तहमा भर्ना भए।
सधैं नयाँ सोच र शैलीमा काम गर्न रूचाउने हुदाँ त्यहाँ यिनले निकै प्रयोग गर्न पाए। विशेष गरी बाङ्लादेशको जीवन शैलीबाट प्रभावित जुपिटरले त्यहीको जीवन शैली र कच्चा सामग्रीलाई नै आफ्नो कला प्रस्तुतिको माध्यम बनाउन थाले। स्नातकोत्तर तह उत्तीर्ण गरेर नेपाल फर्कंदा आफ्नो साथमा विशिष्ट श्रेणीको प्रमाण –पत्रसहित सर्वोत्कृष्ट भई फर्किए ।
कति कराए-चिच्याए , छटपाटीए
म भने रोकीइन , निरन्तर आगाडी बढीरहें
गर्बसाथ दौडी रहें, बिना प्रतिस्पर्दी …
तर एकाएक निरस लाग्यो दौड
बिरानो लाग्यो भुमि
………..
फर्किएर हेरें!
सबै घाइते थिए, हिलाम्मे थिए, धुलाम्मे थिए
अरु नजिक गएर हेरें
….. तर यो के ?
चिच्याउदै-कराउदै, छटपटीदै गरेको धुलाम्मे-हिलाम्मे हूलमा
म मेरै अनुहार मात्र देख्छु! मलाई मात्र पाउछु!
म नै चिच्याउदै छु, म नै कराउदै छु
धुलाम्मे-हिलाम्मे भै छटपटाइ रहेछु
ति स्वरहरु अझै गुन्जदैछन् – दौड-दौड !
अब म अरु कसरि दौडन सकुँलार ?
खोइ! म आफैलाई पराजित गरि,
आफै बिजयी कसारी हुनसक्छु?
My artworks explore the intricate intersections of social, political, and cultural dynamics in the modern era. I firmly believe that art has served as a profound reflection of reality throughout history and extends beyond mere representation. Through my creative expressions, I aim to unveil the subtle intricacies of existence that often evade our perception and comprehension.
While my training primarily lies in painting, I also venture into other artistic mediums. In my quest to enrich my artistic repertoire, I have actively sought inspiration from diverse art forms originating in the Asian region, particularly folk and traditional styles. To bring these influences to life, I embrace the use of local technical expertise, natural materials, and discovered objects. Collaborating with both local artists and artisans, I explore various themes and experiment with different techniques.
This exploration has not only deepened my own artistic journey but also led me to organize workshops that benefit the wider community. These workshops provide us with invaluable time to collectively develop and research our work, fostering a spirit of collaboration and growth.
Jupiter Pradhan 