– Moinuddin Khaled, Art Critic, Bangladesh.

Making statuettes and destroying statuettes —– the history of art can be read through this dialectical method.  All the countries of the world had the history of statuette creation or the possibility still remains in the latent state. Those statuettes come out of the chamber of experience through the sheer flow of creativity.

Jupiter Pradhan and Saurganga Darshandhari present the experience of traditional art through new thinking. These two young artists are from Nepal. But for the last few years they have been staying in Bangladesh. …………………………………………………..

Nepal is one of the countries of the world that are still more connected with the mythical and traditional art forms. On the other hand, Bangladesh is among the countries which despite having rich mythical and religious sculptures are attracted to the modern and contemporary art of the west. Meanwhile, though, a huge change has taken place in the political history of Nepal. Moreover, individualism has become prominent in the tradition based modern art of Nepal.  The works of these two artists may be considered from the perspective of this change.

Jupiter has followed the language of Bangladeshi rickshaw paintings. Rickshaw paintings mostly showcase iconography, in which main characters are typically the popular heroes or heroines from the silver screen. It may be thought that Jupiter’s works represent the antithesis of this urban folk art. Rickshaw painting, the urban folk art, usually shows the love scene of the hero and the heroine. But Jupiter presents himself in this space under the name “Jupy”. Here “Jupy” sometimes appears in the posture of a mime performance, while at other times with an expression of a mythical character. But Jupiter discovers himself reflected on the shiny tin sheet of the rickshaw painting. The artist depicts the crisis of being caged by one’s own shadow.  His work is to create his autobiography though his own visual feature. “Jupy” composes himself in a circle of meditation, emerging from the pain of the bondage of this society.

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