Blueprint of a City by Prasanta Sahu & White Noise by Ushmita Sahu
Prasanta Sahu tries to execute things as they appear in reality, and gives them a different meaning altogether by juxtaposing images from dissimilar areas. His practice could be viewed as re-constructions and investigation of events. In his ongoing series Sahu examines the ‘unknown multitudes’ that serve the society in many different ways for the fulfilment of basic human needs and daily survival, but themselves are never recognised for their contribution. Sahu’s works intervene into these areas and expose situations and faces which are unrecognised and marginalised yet are important for the fabrication of contemporary society. Sahu’s process starts with photo documentation and interviews which later he reworks in his studio. The intention is not to repeat the reality rather to juxtapose these data in a contextual way; in his works, photographed and scanned images appear alongside re-created situations. Irrespective of the fact that Sahu works in several different medium, investigation into the human condition is the thread of commonality running through his métier.
Ushmita says her works are an introspective assimilation of the mechanics of her own mind. They are a continuing series of open ended dialogues with herself; an expressions of her search into the essence of who she is. She tries to give tangible form to an intimate, unknown space. Mapping is essentially a human endeavour to de-mystify; to break down the unknown into knowable units- she proposes her drawings are area maps of the infinite space that exists within her, and calls herself a metaphysical cartographer.
Her work may be called a “process oriented Abstraction” where images suggest geological phenomena, horizon lines, celestial events, and topographical formations and architectural forms. She is fascinated by theories of space and time continuum, black holes, singularity, event horizon and other scientific theorems. The almost architectural spatial division could be read as human interface and the more organic forms float and move within the more structured space around it, interacting with it sometimes trapped by it. She feels aurally her paintings are predominantly silent. For Ushmita colour is expressive and personal; the layered, acrylic surfaces consume themselves, overlapping and running into each other, and finally melting into an image which may be strangely evocative.
At any given time she deals with three kinds of space; the space on the paper, the space around her and the mental space within. For her each work is a whole of and a part of a larger dimension, where every section exists individually within its assigned space, and also extends infinitely on all sides. Repetitiveness is an element she employs deliberately. Each drawing is a record of transforming events, about pattern, structure and repetition. With each repetition every element is experienced differently. Every repetition initiates a transformation