Jupiter’s Realization

-Saroj Bajracharya, Painter, Nepal.

“Art is a realization…” “But realization of what?” some years ago such meticulous topic was left unanswered in an art discussion. Years passed by and I thought to my self how can realization in its entirety be objective. And some years later I happen to visit an art exhibition and performance by Jupiter in the same art premises where that art discussion had taken place. This event by Jupiter was his first solo art activity “Suhanis’ House” at NAFA art gallery in 2005. He had designed a performance of a young girl and had also penned some poems; all that summing up to become an interdisciplinary art event. This art show was dedicated to children suffering from the political and social reformation in Nepal. I still remember that the artist mentioning that he has not realized himself as a poet; however he also mentioned that words were the easiest way to express his angst. It became clear to me that the artist’s passionate receptivity was more in dominance of his intellectual responsiveness. But so much has changed since then. Now in his second solo show “Sojourn in Bangladesh” the artist emphasizes that our social configuration is rapidly changing into mannequin civilization, where people do not realize that they are craving to have control over their surroundings. In the Process they treat their surroundings as mannequins. Here Jupiter confesses that he also has a will to control. But his creative side makes him stand still and lets him silently observe his surroundings. Because of this silence, he becomes a mannequin himself. This duality- to control and be controlled has caused a friction within the artist. And the artworks that we now view in this exhibition are the outcome of that metaphysical friction. His capacity to analyze, and observe has increased exceptionally. Because of this, now the artist balances his emotional and the intellectual reaction to his subject matter and here the subject perceptively is his own duality. He mostly depicts symbols that have long been attached with human civilization; such as lotus and images of gods and goddesses etc. he chooses such elements particularly because of two reasons. These images, in the continuity of time and overlapping of various cultures, have become deeply symbolical that each image refers to multiple meanings. Therefore, it has become easier for the artist to blend his concept with the already popular meanings of these icons; and secondly, to create appeal in his artwork. He confirms that art has to look visually appealing; this visual language is very important for an artwork to stand out.

The artist states that the images that he portrays on the canvas are mannequins to him and he enjoys decorating them with minute designs. He feels that his experience and the response towards the surroundings are making him decorate these representations. He realizes and asserts that there is always something in control of the other.   He further expresses that sometimes it’s sad to know that something is in control over you. But it’s the creative awakening that teaches him to balance the power-play of the controlling game. This is where he inserts his political opinion in his art works. He chooses motifs that he likes and thus feels close with. By doing so he minimizes unnecessary options in choosing objects to portray in his artworks. This method also helps the artist in reducing in the scattering of ideas, helping him in concentrating on his thoughts. His subject here mostly deals with political confusion and culture shock in popular social situations. He interweaves the popular icons of gods and goddesses in contemporary and colorful approach. He is doing this in order to create an effective visual language. This is how he composes satirical “melodrama” on the canvas and in his installations. The melody is in his mind and the drama is occurring on the exterior world around him; the conjunction between these two phenomena for him is the experience of creative awakening. In other word this experience orchestrates realization within him that alerts him on his limitations consequently suggesting him on the possibilities of expansion. And with the help of set of skill that he learnt in art school, he converts his realization into socially defined and accepted forms of art work.   The artist extensively uses any materials to shape his art, ranging from art material to even non art materials.

Because of continuous clear observation, traces of objective reality fades away in the mind; therefore, images in the memories conjunct with one another. And the refined rationality that has come to us through the intermingling of experience and instinct helps in understanding to depict the right thing at the right time in the right place. Jupiter has done just that. His sharp presence of mind has let him competently connect with his immediate surroundings. His art is not merely a political or social statement. Beneath the mantle of political and social satire, underneath the traditional, curious and mysterious motifs, there lies a deep sense of self awareness. This particular creative experience is realization to him; realization of the surroundings through the self.   This attitude of the artist infuses an aura of spirituality in his art, which can not be distinctively described, however it can be felt.  This mood and his selected representations on the canvas reveal a new approach towards art. Through this approach the new breed of artists of this generation is rendering “Nepaliness” in the contemporary art configuration. Jupiter is significantly successful in confirming himself as one.

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