September 24, 2022

R. Siva Kumar

K. G. Subramanyan as Muralist #2

There had to be a personal angle, it also had to be for him, as it was for Nandalal and his other mentors at Santiniketan. Public art, meant not only art in a public space or on public buildings, but art that came alive through an environmental connect and was made meaningful by the response of variously endowed viewers.

K. G. Subramanyan as Muralist #3

The imagery is minimal and its overall impact is austere, some would think too spartan. Compared to the black and white mural its sensuousness is subtler and deliberately underplayed as in many of Nandalal’s works. This is Subramanyan’s homage to Nandalal as well as a demonstration of his personal insight into the expressive subtleties of design gained through long years of engagement.

K. G. Subramanyan as Muralist #1

But unlike his contemporaries, compelled to work as both artist and designer at the outset of his career he learned to explore self-expression within the larger frame of communication and subsume the quest for originality within the operative frame of a visual language that is potentially shareable even if not actually shared.