“The light is deeply informed by darkness, suggesting its inherent ambiguity, and uncertainty about whether darkness or light will prevail. It is never a pure, convincing light, but a light contaminated by demiurgic forces that are as eternal as it is. It is a light that’s flaming up may be a flickering out -- the last efflorescence of a fading ideal. Om Soorya’s paintings are emblems of enigmatic states of mind as well as relics of historical reality” - Noopur Desai
The ideas of my works are ascended as a mission for my philosophical skepticism. As a less than dependable rule, it shares a kind of ambiguity over the paradoxical world. The Idea of Monumentality, immortality, utopia, and dystopia constantly have been an influential representation of my work. In this way, I endeavor to make a whimsical unique space.
When I began doing this dialect, my primary concern and test was the means by which to have an exchange between the traditional thought of painting and the new urban dreams – how to bring a reflective space of silence from the new urban complexities. The new Indian urban man satisfies his significant and intelligent sensualities by ostensibly using the new scene from a by and large diverse perspective. In fact, we don't have space plan savvy to spend for getting a charge out of a dusk or first light. All around there is divider in the divider, level surface of musings. What the whole of what we have is a breath of calm when we see a widely inclusive night view from our level yard. The urban man has compelled his supernatural excursion to his new possible positive visual sensibilities. In a greatly instructive world chatting on the web has expected the sort of rambling mantras. Surfing has transformed into a kind of intercession. The new time has made sense of how to use a choice physical space for its own nearness. Here my manifestations are limited to research these potential results of visual sensibilities. While the world is contracting to the space of a shell, the innovative space is impacting to new sensibilities. By making an astoundingly altered scene of vernacular, what I have to share is a breathing mindful space of visual reality.
The representations of archetypal motives are the quintessence of the past though the illuminations are my consciousness and this thought of paradigms must be seen reference to the Jungian archetypal studies. By intertwining, the repeated shapes like Stupas (Budhist) and illuminations, these visual lingo attempts to speak to the east and its spiritual sensibility and this process of illumination itself turns into a sort of chanting or framing like a pattern. Eventually it develops a dialogue between the ethical inquiries of the over a wide span of time. What's more, the totality of my art practice remains for the same.
The process of illuminations of my work has been even particularly part of the neighborhood society of Kerala. The illuminated sanctuary and Kavu with a great many little lights has been a one of the basic visuals from the locality. Diverse folk performances like Theyyam, which performed/brightened with flame and little lights, are additionally has been a fundamental piece of my visual vocabulary. The dynamic and striking extras and make up of these performances has impacted me in making this visual dialect. It can likewise been identified with the wall painting or floor ceremonial painting which is known as ‘Kalamezhuthu’ of Kerala. All together the feeling of my work of art profoundly established with my way of life and society custom of my encompassing.