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Sincerity of purpose

ATIYA AMJAD

Aasha Radhika, a self-taught artist, has been rigorously practising egg tempera, a technically demanding medium. Her works reflect the discipline required.

THE NATURE of art is simple and pleasing, but at the same time it is enigmatic. The spectator, usually with trepidation, either venerates it or merely dismisses it as some extraneous matter.

Therefore, the dilemma gets extended to the artist as well. The exhibition of paintings by Aasha Radhika displayed at the State Bank of India, Kothi, certainly activated such dualities.

Elegant still lives and perspectives, painted in the medium of egg tempera, evoke beatific images which can only be visualised.

In fact, her painted pageantry is overwhelming. Arranging in order a multiplicity - of form, colour and light - Radhika, basically a self-taught artist, rises in her own style to achieve a discipline generally practised by conventional art students. Therefore, it is surprising to know that despite working outside the ambit of an academic environment she attained such rigour.

Most have a desire to paint but those who pick up the brush are very few. Basically, when artistic priorities are placed on the lower rungs, the desire to paint always remains a desire.

And, obviously Radhika, by mounting this show has definitely eliminated the limitation by rigorously practising a rather difficult medium such as egg tempera.

Trained by Srinivasa Chari, a professional contemporary painter, whose medium is egg tempera, Radhika's inspiration is more than understandable.

But, the best part of this tutelage is that there is no sign of forced over reaching. For, she is systematically graduating from studying her environment and engaging her eye to absorb compositions and forms and donating to her objective art the certitude of colour and light.

What one should appreciate in her work is the sincerity with which she paints. For, she makes no artistic statements or inventing technical possibilities.

But, devotedly acquiring first a skill and training her eye. Maybe her work is infused in academism, but then her possibilities of initiating upon a serious practise only becomes concentrated.

Giving the oil gloss a slip, this budding artist has opted for the stately pastel patina of egg tempera which is far more demanding as a technique when compared to oils. But then she definitely has a long way to arrive.

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