Liladhar Patil
As an artist I choose to be a visual artist. My earlier works mark my rigorous engagement with process of making drawings and fine relief sculptures, and vice versa. This makes my earlier work series often holding a two dimensional presence with a thin dividing line between drawings and fine reliefs. Both the processes have been deeply integrated with/in the re-use of metal industrial waste.
I take intense long walks in the industrial areas of the peripheral city Mumbai to collect my materials. I have been employing the industrial metal cutouts in my works. Each detail of the industrial waste becomes a link to the languages lost and desiccated in our locales. My journey started from painting landscapes that had absence of emotions. Gradually going deep in relation to the core concept, I changed my mediums. Every work of art I made is a landscape of instincts we all go through, and are certain to lose, the actual reason we grew up for.
My works emerge at the margins of consistent crisis wherein human language/s struggle and attempt to communicate and fail. Human/emotions cling together for survival without any motivation. Like, human identities hang out together with their survival-instincts without questioning their deeper existential needs. I work with ink (drawings) on photographic-prints, installations and environmental sculptures. My visual language could be viewed as a fragment of the transforming urban landscape, an alternative view to the so called “developed” and “urbanized” metropolises. Invested with the paradox of sustenance my works are ephemeral and are allowed to erode with time, just as the human body does.
One could view my works as an analogical mediation on collective human memory and an archive of histories or a provocative series of an individual’s personal journals and stories. Who is this individual or the immigrant protagonist in the city? One may ask.
In Weir Farm Art Center Residency I would like to venture around and “search” my materials. At the same time, I would like to carry some industrial waste with me to acknowledge our contemporary turbulent locales. In Residency, I would like to collect the beauty pieces of Nature; and recycled materials if any and work cohesively with materials from India and those found there. These materials collected are often merged while I put them together using transparent fiber. I plan like to make to six to ten globes with this process representing our portraits.
Portrait of inner paradox
Portrait of chosen self-exile
Portrait of ecstasy
Portrait of love and bliss
Portrait of brutality and male chauvinism
Portrait of Five Elements (showing the need for Pancha Mahabhootas in Nature: Earth-Water-Fire-Breath-Ether)
Header: Liladhar Patil, Detail of Landscape of Indiscreet Faith
I take intense long walks in the industrial areas of the peripheral city Mumbai to collect my materials. I have been employing the industrial metal cutouts in my works. Each detail of the industrial waste becomes a link to the languages lost and desiccated in our locales. My journey started from painting landscapes that had absence of emotions. Gradually going deep in relation to the core concept, I changed my mediums. Every work of art I made is a landscape of instincts we all go through, and are certain to lose, the actual reason we grew up for.
My works emerge at the margins of consistent crisis wherein human language/s struggle and attempt to communicate and fail. Human/emotions cling together for survival without any motivation. Like, human identities hang out together with their survival-instincts without questioning their deeper existential needs. I work with ink (drawings) on photographic-prints, installations and environmental sculptures. My visual language could be viewed as a fragment of the transforming urban landscape, an alternative view to the so called “developed” and “urbanized” metropolises. Invested with the paradox of sustenance my works are ephemeral and are allowed to erode with time, just as the human body does.
One could view my works as an analogical mediation on collective human memory and an archive of histories or a provocative series of an individual’s personal journals and stories. Who is this individual or the immigrant protagonist in the city? One may ask.
In Weir Farm Art Center Residency I would like to venture around and “search” my materials. At the same time, I would like to carry some industrial waste with me to acknowledge our contemporary turbulent locales. In Residency, I would like to collect the beauty pieces of Nature; and recycled materials if any and work cohesively with materials from India and those found there. These materials collected are often merged while I put them together using transparent fiber. I plan like to make to six to ten globes with this process representing our portraits.
Portrait of inner paradox
Portrait of chosen self-exile
Portrait of ecstasy
Portrait of love and bliss
Portrait of brutality and male chauvinism
Portrait of Five Elements (showing the need for Pancha Mahabhootas in Nature: Earth-Water-Fire-Breath-Ether)
Header: Liladhar Patil, Detail of Landscape of Indiscreet Faith
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