Mrinal Ghosh

Ganesh Haloi is an artist of nature. That is his domain yet there is a lot more to his work. In search of nature’s essence, he redefined simplicity….

Even through the abstract he managed to keep alive Bengal’s true soul. This true inspired form of abstract art depicting national fervor is his innate contribution to the post 60s Indian art scene. In accordance with world art’s continuous journey towards change, his innovation is vital.

He never really tried to encapsulate nature for the sake of its beauty. His creativity flourishes with a sort of philosophizing—notable among them is Buddhist philosophy. He grew up amidst conflict—both personal and cultural. Yet he nurtured a core of meditation inside of him circumventing those clashes. His art stems from that very sense of inward fulfillment. “Art has no space for limitation” he says. He believes in the theory of surplus—which while being acutely Indian is also Rabindrik (of Rabindranath). In his own words, “That flowing water cascading sans any obstruction from a full to the brim vessel is art. ”(Jogsutro Magazine, July-Sep 1995). This excess, this surplus turning pathos into joy emanates from his art.

His playful banter with nature’s geometric simplicity allowed him to create a supernatural rhythm. The paintings exhibited here showcase that very mystical tempo. In a way, they represent an internal dialogue of the artist. As though he is conversing with his inner self in utmost solitude; in silent verse; with only lines and shadows. This unadorned simplicity took time to master. Nature’s sheer enormity became simplified in his work through many evolutions. We will analyze that shift in his work a bit later. For now though, the focus stays on the current exhibition.

The majority of the work in display was done in 2012. Some were done between 2009 and 2011. Only a handful (about four), were done in 2004 and 2005. Done in erratic watercolor and Gouache medium, these pieces hint a later abstraction of nature. If we keep these four into consideration and look at his recent work then the path of evolution of his work becomes evident. We can understand how the artist altered the visible innateness of nature and exposed the mystical pulse. The journey is almost musical in its elements. The paintings are in watercolor with some occasional use of ink and pen.  Strong lines in geometric patterns or plain straight lines portray his supernatural elements. Light tone or shadows were used too. Geometric clues are scattered over the blank canvas. They evoke the vastness of nature through memory. Yet it is not a specific form of nature that is remembered, but an abstract one. The audience can interpret that abstraction in their own way. The artist’s independent thinking thus collides with the visitor’s. Art, as a medium is always an exposition of freedom. These paintings build, rebuild and revolutionize that concept of artistic expression and freedom in an almost musical capacity. Nature inspired abstract rhythmic exposition paintings are thus, the artist’s strongest contribution to modern art.

In November 1987, he had a solo exhibition titled “Metascape” in Kolkata. In Gouache he painted the uninhabited, empty lush green earth. Nature’s musical tone was visible in that too. He attempted to achieve a different sort of truth—not just the prototype of nature. This determined journey towards truth escalated further in his 1989 exhibition. It was here his artistic philosophy was in full bloom. River, sky, trees, streets, open space are all there—but none has a distinct shape or form. Rather, just a hint of their existence remain. This nature- based abstract form was developed slowly and transformed his entire body of work. In 1992 he had a solo exhibition titled “Conflict” where structurally conflicted geometry took precedence.  The 1993 exhibition was even acutely aware of its abstract roots. Nature’s presence was blurred even further, highlighting the abstract. Like the remaining vibration of music, only the core of nature remained

Abstract art as a form was practiced in a wide scale in the 1960s in the hands of the artists from the 1940s. One of the pioneers of the movement was V. S. Gaitonde. Later Somnath Hore, Ram Kumar, Syed Haider Raza, K. C. S. Paniker among others practiced the many facets of abstract art. Like the West, here too a branch focused solely on nature. Another branch focused on geometric objectivity. Those who worked closely on this in the ’50s and ’60s are Jagdish Swaminathan, Baburao Sadwalob, NasreenMohamedi, Sukanta Bose, Laluprashad Sai, GaneshHaloi.

Ganesh Haloi is an exception among them. He arrived at abstract art by transforming nature and with sheer force of conviction blended expressive abstract art and geometric abstract art together showcasing the rural, lush greenery of Bengal and contributed in modern Indian art. His greatest contribution is waking abstract from local form. Through this he bridged the gap between home and abroad. His contribution on forming a modern yet tradition-inspired identity is sincere and crucial. Some memento of this philosophy of his is thus showcased in the exhibition titled Nature’s Supernatural Rhythm.