Giridhar Goud in his latest suite of works has created the narrative of the life of Krishna in the series titled “Dashavatara” based on his study of the tenth chapter or the Dasma Skanda of Srimad Maha Bhagvatam. His works was based on, a series which, opened space in initiating another trajectory of a narrative that enabled a deeper analysis of one particular avatar of Vishnu namely Krishna, which in Giridhar’s perspective and studied analysis is a manifestation of the many avatars of Vishnu. Explicating on this the artists says, “In my view the Krishna avataram cannot be viewed as an avataram reincarnated for the mere redemption of the Dwarapalakas, Jaya and Vijaya from their curse. The more I read the Dasama Skanda, the more I was subsumed by the feeling that the Krishna avataram is a poorna avataram or complete avataram exhibiting all the qualities which were visible as parts in other avatarams”.
This intellectual approach of Giridhar in reading the Purana between the lines is exemplary of his fundamental understanding of the inherent philosophy conveyed through the varied avatars of Vishnu.It mandates therefore to approach his painted episodes from the life of Krishna not as mere illustrations,but a deeper philosophy seen through the eyes of the artist. An aspect that makes his works personal in its interpretation though the mythic stories generally remain as interesting narratives of the life of Krishna. He thus creates temporal layers that find visual correspondence through his layering of many forms that operate within his works. This has enabled for him an intelligent and crafty understanding of the art of painting as he dissolves boundaries between art of the craft and the craft of the art.
An element that Giridhar is overwhelmingly passionate about, declaring his strong predilection in its engagement is the seminal line. The firm confident drawing not only lends visual power and character but is effectively controlled. It also became the vehicle for Giridhar to carry the burden of his expressions; poetically swaying, dramatically walking, shying away, aggressively powerful and dominantly versatile, imparting a sense of melodrama,sentimental emotions,or and cheerfull playfulness that complies with the mood of different narratives in the life of Krishna.
Rendered either on large or intimate scale, one has to contend with the concept of time in Giridhar’s works. Time has had a significant influence in the world of visual arts. The notion of time as ephemeral, ever changing and mythic is explored by Giridhar to have contemporary relevance. The dialectics of stillness and movement [“Venugana Lola Sri Krishna”], internal external time [“Krishna Jananam”] and fluid-futility [“Kaliya mardhanam”] are expressions of time that Giridhar has explored through the subject of Krishna and Vishnu Avatars.
In this suite of works he creates a powerful aesthetic appeal, reflected in its intimate details sourced from his environment, intricacies of technique, effulgent and sensitive colours, clever linear prudency and seminally his management of stage craft as a story teller in his compositional organization. The paintings attract by their colour, drama, organic movement and the beauty of its protagonists. It fulfills the artist’s aspirations to return to roots by removing the veil of amnesia on mythic traditions in order to demonstrate with renewed dynamism that the Puranic myths continue to have validity within contemporary reality. In a predominant virtual and digital globalized world where time literally takes wings, Giridhar has woven threads of imagination to spin anew the epic narratives through his personalized vision that continue to have magical charm, meaningful valence and appeal within our reality.