With celebration of sensuality as one of its running theme his works is at once both intimate and universal in its appeal. A personal commemorative sculpture with the scale and presence that hold well in natural settings, his works have found permanent home in a number of public collections all over the world.
In the Freehold series, originally started a decade back, Radhakrishnan explores the polarities of life as seen expressed through the ideas of freedom and enlightenment, method and wisdom, material allegiance and spiritual transcendence and so on. All the sculptures in Freehold series contain the fundamental truth of life; the truth of convergence and divergence of qualities that makes a balanced life possible. Mounted on rounded pillars, the sculptural protagonists of Radhakrishnan, namely Musui and Maiya perform various physical gestures that help them to be ‘free’ in their existence.
A keen observer of the art of Radhakrishnan could see how the concept of Freehold plays a key role in the formulation of his magnum opus, The Ramp. As the title suggests Ramp is the ascendance of life from the material base to a spiritually enlightened state of being. Ramp has pillars, reminding the viewer of his Freehold sculptures on which the protagonists of the artist cartwheel to a higher plane.
An artiste who likes the idea of creative play, which is termed as ‘lila’ in Indian aesthetical discourses, Radhakrishnan plays with the tiny human figures in a very intuitive fashion, led by the instinct of time that formulates the strength and depth of the impending composition of the resultant sculptures.
Started almost fifteen years back in a series called Human Box Series, these sculptures created out of tiny bronze human figures have now taken a new identity of their own.
In the Freehold series, originally started a decade back, Radhakrishnan explores the polarities of life as seen expressed through the ideas of freedom and enlightenment, method and wisdom, material allegiance and spiritual transcendence and so on. All the sculptures in Freehold series contain the fundamental truth of life; the truth of convergence and divergence of qualities that makes a balanced life possible. Mounted on rounded pillars, the sculptural protagonists of Radhakrishnan, namely Musui and Maiya perform various physical gestures that help them to be ‘free’ in their existence.
A keen observer of the art of Radhakrishnan could see how the concept of Freehold plays a key role in the formulation of his magnum opus, The Ramp. As the title suggests Ramp is the ascendance of life from the material base to a spiritually enlightened state of being. Ramp has pillars, reminding the viewer of his Freehold sculptures on which the protagonists of the artist cartwheel to a higher plane.
An artiste who likes the idea of creative play, which is termed as ‘lila’ in Indian aesthetical discourses, Radhakrishnan plays with the tiny human figures in a very intuitive fashion, led by the instinct of time that formulates the strength and depth of the impending composition of the resultant sculptures.
Started almost fifteen years back in a series called Human Box Series, these sculptures created out of tiny bronze human figures have now taken a new identity of their own.