Kanchan's art particularly of the last decade is the art of assertion, of the domestic centricity of feminine experience, of an iconic feminine energy, and of her easy appropriation of the idea of the mythic divine feminine. From her preoccupation with the Bhoota figures of Karnataka, tribal figures and images of the Shakti cult, she has made identifiable images of feminine power. In her later works, the presence of a child figure, toys etc. speak of the intense mother-child interdependency, whether it is in 'Vatsalya' series or the 'Fables Retold'. More recently she has worked with the female torsos, brightly painted, monumental and bedecked with sequins, silver leaf and beads. Here, there is celebration of the fertile, the erotic and the sensuousness of the female form. Luminous cerulean blues, yellows and bright reds make the surface vibrant.
In Kanchan's art, aesthetic response can hardly be divorced from a social response, as she doubts the autonomy of art and whether art can be only for art's sake. "Art occurs in a social situation, the maker and the art; both are bound by social forces that are instrumental in shaping them. I too am subject to the same law.” says Kanchan emphatically. Kanchan's personal lifescape, dilemmas, conflicts; joys and aches screened through subjective distortions inject substance into her art.
Artist Kanchan Chander believes that young artists should follow their heart and not fall prey to what society and the western world believes they should be creating. She believes that Art, occurs in a social situation, the maker and the art; both are bound by social forces that are instrumental in shaping them. She too is subject to the same law. Her own personal life, with dilemmas, conflicts, joys and aches are screened through subjective distortions that inject substance into her art.
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