Outpouring of emotion

Artist Vikash Kalra, whose style of painting has been likened to the modern master, Francis Newton Souza has always presented his works in such ways that art viewers outrage. 

In the present exhibition, Tales from the Soul Marrow, Kalra, however has chosen to display his ‘drawings’ in a collage mode, which is quite unlike other referential masters or even his own usual display strategies. 

At the same time it should be added to the critical views about his works that he prefers some sections of his creative ensembles to be exhibited in a collage mode.

Collages are created out of discarded and disparate materials and objects in a particular format in order to create a new logically comprehensive visual form, which is aesthetically appealing and radically diversified from the usual norms of visual arts.

His art is a depiction of the turbulence, the climax and the ache in his life. His strokes are bold, definite, a burst of emotion. It offers you a glimpse of the intrinsic nature of man, of woman, of relationships and their tempestuousness. 

A keen look at his works and exhibitions so far reveal that in each exhibition he brings a set of works or framed works or sculptures framed within the space in an effort to make them as a singular work of art. 

Here his attempt is to collapse their distinct identities as autonomous works of art. The artist, using his internal logic, places one piece of drawing or painting, which could be a series of portraits, nudes or even animal heads, in relationship with the other in the ensemble and the cohesiveness looks so strong that taking out one of them would end up in totally collapsing the work of art. 

But at the same time, if they are independently exhibited, without showing the possibility of them being together in a collage, they assume the nature of autonomous works of art, not even once betraying their closer affinities with the work of art seen/displayed next to it.