Journal of Creative Arts & Minds, Vol. 3, No. 1 – June-July 2017 by Jumbo Arts International

Journal of Creative Arts & Minds Vol.3, No.1, June 2017  An Original Publication of Jumbo Arts International  Red Springs, North Carolina, USA

ISBN: 978-0-9965432-4-8 / ISSN: Pending  Jumbo Arts International 2017

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Journal of Creative Arts and Minds Published by

Margie Labadie, President  John Antoine Labadie, Senior Editor & Graphic Designer  Larry Arnold, Board Member

Electronic Links  https://www.facebook.com/JournalofCreativeArtsandMinds http://www.jumboartsinternational.org jcam.jal@gmail.com

Jumbo Arts International Contact Information 217 South Edinborough St.  Red Springs, North Carolina 28377-1233 01.910.734.3223 Editorial – John Antoine Labadie & Margie Labadie  Design – The JCAM Team of Jumbo Arts International

The Journal of Creative Arts and Minds is a publication of Jumbo Arts International. This electronic publication is free. The views and opinions expressed in this publication do not necessarily represent those of the publisher.

Vol.3, No. 1, June 2017 TABLE OF CONTENTS Jumbo Arts International Publishers Message – 6 JCAM Editor’s Message – 8 VISUAL ARTIST PROFILES Adam Priebnow – 12 Agnieszka Gzyl – 25 Aljona Shapovalova – 41 Anil Vangad – 56 Bandana Kumari – 74 Bhawani Shanker Sharma – 89 Bibek Santra – 105 Era Tak – 119 Jeffery Geller – 132 Katarzyna Szulc – 146 Oliver Wong – 158 Peggy Hinaekian – 175 Sharad Bhardwaj – 187 Vrinda Haldia – 201 CREATIVE PROJECT REVIEWS Earth Women Arts – 214 Jaipur Art Summit – 217 Ghoswami Bhatt – 219 FINAL WORD – 221 INFORMATION FOR SUBMITTERS – 222

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Publisher’s Message Growth comes in many forms and seems to be, by definition, a positive thing. Growth can mean an increase in size; a progression in value, or an evolution of some kind. All of these meanings describe the situation we find ourselves in at this publication date. The JCAM is growing quickly— and this is good! Our pages come alive with the words of artists and writers who speak for themselves. Creative individuals are not defined by a single poem or painting. So we include more poems and short stories per author, more visual images per artist, than other publications do. Because of this, our readership experiences a range of creative works. They can see and feel the struggle for human expression in its many forms. The number of excellent artists and writers who have submitted their work for consideration to the JCAM has increased by approximately 500% in the last year. The number of creative projects we want to highlight in our pages has increased as well. So much so, that our current bi-annual issue format is about to change, and grow. It is our pleasure to announce that The Journal of Creative Arts and Minds will expand its 2017 publication schedule to June, September and December. Beginning in 2018, we will publish four issues per year that will come out in January, April, July, & October. We look forward to bringing you more of what you have come to love about the JCAM!

Margie Labadie JCAM Publisher & President, Jumbo Arts International

Red Springs, North Carolina, USA  jumboartsinternational@gmail.com

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Margie Labadie “Mom’s Recovery - Three Months in Philadelphia”   Digital Artwork June 2017 Dedicated to my mom, Shirley Schmuckler, who turned 88 on July 6, 2017.

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A Message from the Senior Editor It is June of 2017 and we are pleased to bring our readers Vol.3, No.1 of Jumbo Arts International’s “Journal of Creative Arts and Minds.” Now in our third year, we are more thrilled than ever to deliver this more highly evolved publication.

The JCAM is an extension of our core mission to support the arts, culture and performance through mutual understanding of life ways. It is a virtual space to gather, listen, learn and share creative passions on an international level. The JCAM content for the 2017 issues has been developed almost entirely through social media. Our publication has grown though electronic messaging and emails. It is built through cloud storage, published online, and viewable without restrictions, for free as a web-hosted PDF.   As with our previous JCAM publications, the highly creative visual artists whose works are included in the June 2017 issue of JCAM represent a number of countries, cultures, media, ages, and levels of experience. We value our relationship with each artist. As such, each artist’s submission is held as unique and is allowed to evolve relatively unhindered given the technical limitations of our current publishing format.

The JCAM receives questions about submissions process every week. Our interactions with the visual artists and/or writers expressing interest is based solely on a dialogue about each person’s work. All submissions are subjected to a standardized editorial and juried review process. It is only after the editors and/or a panel of reviewers have juried a submission that an offer for possible publication is extended to a submitter. It is only then that the editorial process is shifted into a higher gear.  The June 2017 issue has brought editorial challenges that were educational for both submitters and staff. For example, as with other issues the editors received text

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submissions forwarded to us in languages other than English. Fortunately, the electronic tools to translate from one language, or alphabet, to another seem to improve almost daily. Using a variety of translation tools and engaging in a productive electronic conversation with non-English speaking submitters has allowed for the successful publication of “translated” articles that we might not have previously attempted. Articles submitted by Russian, Spanish, Korean and German artists are examples of such collaborations. Jumbo Arts International’s JCAM publishing project is a well organized, highly collaborative, and time consuming endeavor. Our small Jumbo-JCAM staff continuously seeks to identify and publish original creative work from local, regional, national and international sources that are known to us. Our outreach in this regard has greatly expanded the Jumbo network since pre-planning efforts began for the JCAM in 2014. It is our pledge to continue this evolutionary process in the issues to come. We appreciate your comments and conversations on social media and through email. We promise to respond to everything sent our way. In this issue we continue to offer reviews of creative projects with which we have had the good fortune to interact or be involved. It is hoped that readers will enjoy and be informed by this feature. As artists ourselves, members of the JCAM staff are happy to be able to share some of our successful creative connections with readers. Our readers are our best way to network out into creative communities. Do you know of a visual artist or creative writer JCAM should hear about? We will answer all emails received. We hope you enjoy our latest JCAM publication!

John Antoine Labadie Senior Editor & Graphic Designer Journal of Creative Arts & Minds jcam.jal@gmail.com

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John Antoine Labadie  “The Ghost of William Morris #30” (Detail) / Tradigital Image  Exhibited in the “6th Guanlan International Print Biennial” held at the China Printmaking Museum in Guanlan, Shenzhen, China – June 2017

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Adam Priebnow JCAM: What is your professional name? Where were you born and does that place still influence you? Where do you live now and how does that place influence you? Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life? AP: My name is Adam Priebnow. My pottery is called Dakota Crystalline. I was born in Fergus Falls, Minnesota in the USA. Fergus is where my ceramic roots started so I still have strong influential ties there with my family and first professor Lori Charest. I currently live in Moorhead, MN and this continues to have a positive impact on my work today. My family is my biggest support for pottery and everything else I do in life. I have tremendous support from Kelli Sinner who was my professor in Ceramics at MSUM (Minnesota State University Moorhead). My friends support my work by pushing me to become better. I have had the privilege of working with a lot of hard working, talented artists throughout the years. I believe if I did not have each one of them by my side I would not be able to do the things with clay I can today. JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you make art now? How has your work changed or developed over time? What are you trying to communicate with your art? AP: I started making art while pursuing a degree in Psychology in 2008 at Minnesota State College in Fergus Falls. It was shortly after this that I realized ceramics was a passion for me. I continue to make art today because when I am not creating, I feel like a part of me is missing. My work has changed tremendously over time. When I think about my first 6 inch cylinder assignment and how I used close to 6 pounds of clay to achieve it and to what I can do with 6 pounds of clay today, it amazes me. There is a saying it takes about 10,000 hours to become a professional with something and I tried to get those 10,000 in

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as fast as possible. Today, itâ&#x20AC;&#x2122;s not about the time that I put into the work, it is about using the time I have wisely. I am trying to achieve a record of progression in my work that shows that I have done the best I could. Through that I think art can be used as a means to show others to accept themselves as well as learning to push their limits appropriately. JCAM: Do you have any creative patterns, routines or rituals associated with your art making? What element(s) of art making do you enjoy the most and why? What is your most important artist tool(s) and why? How do you know when a work is finished? What are the art making tools you use now? What new creative medium would you love to pursue? AP: My rituals for art consist of the process of making clay to my desired consistency, throwing pieces, trimming, bisque firing, mixing glazes, glazing pieces, firing and finishing the bottoms; only to be satisfied for a few seconds with the results and then looking for ways to improve the next kiln. My favorite part of the process is the process I am working on at any given moment. If I had to choose one it would be throwing though. Because there is so much movement and feeling associated with the process. For me a piece is never really finished because they can always be improved. I try to use my work as a record towards progression. The last piece I create will be a perfect one because to me that will be the finished product and hopefully a final to many years of making beautiful work. I love the pursuit of crystalline glazes because it challenges me in all areas of my work. Sure the glazes themselves are wonderful but without a beautiful canvas they are nothing. JCAM: What's the first artwork you ever sold? Do you make a living from your art? What strategies will you share with other artists on how to become successful professionally? AP: The first piece I ever sold was at Mstate when the curator for the school bought one of my pieces from my Introduction to Ceramics class. I do not do art as a living but I would like to believe I am becoming a professional at it. The best advice I have got in regards into becoming successful professionally was from a professor at Minnesota State University Moorhead who said that there is no excuse not to be making work regularly. If you want to be successful you have to put in the time. He gave examples of how he would work evenings when his family went to bed. I try to model my studio time after this advice. â&#x20AC;¨

JCAM: What are your goals for the future, for both work and life? What interesting

project are you working on at the moment?

AP: My goals for the future are to continue to expand my Pottery Dakota Crystalline and become the best artist I can be. The project I am currently working on is further development of crystalline glazes.   JCAM: What or who inspires you? Do you have a favorite — or influential — living artist? What work of art do you wish you owned and why? AP: The people who have inspired me the most are my professors in the past, Lori Charest and Kelli Sinner. There have been countless others that I have worked with that have inspired me. My favorite artist is Tom Coleman. I'd love to have any piece of his. I have always been interested in his original crystalline matte pieces. Other than that there are countless crystalline artists whose work I love. JCAM: Where do you find ideas for your creative work? What does “being creative” mean to you? What is the best advice you ever had about how to be more creative?  AP: I am constantly aware of my environment. When I see something that excites me I try to find a way to incorporate this into my pots. Being creative to me means being open-minded and willing to learn from everyone. If I am willing to listen, I can grow. This open-mindedness translates into willingness to put things into action. I love taking the action of creating because I am a hands on learner.

Photo credit for all images: Vanessa J Creative

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Adam Priebnow  “Blue On Green Vase” / Ceramic with crystalline glaze

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Adam Priebnow  “Blue On Tan Vase” / Ceramic with crystalline glaze

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Adam Priebnow  “Detail of Crystal” / Ceramic with crystalline glaze

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Adam Priebnow  “Silver On Yellow Vase” / Ceramic with crystalline glaze

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Adam Priebnow  “Silver On Green And Tan Vase” / Ceramic with crystalline glaze

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Adam Priebnow  “Silver On Brown Vase” / Ceramic with crystalline glaze

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Adam Priebnow  “Platter” / Ceramic with crystalline glaze

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Adam Priebnow  “JadeVase 3 / Ceramic with crystalline glaze”

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Adam Priebnow  “JadeVase 2” / Ceramic with crystalline glaze

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Adam Priebnow  “JadeVase 1” / Ceramic with crystalline glaze

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Agnieszka Gzyl JCAM: Where were you born and does that place still influence you? Could you talk a little about experiences that have influences the way you currently relate yourself to your artworks? AG: My name is Agnieszka Gzyl. I was born in 1972 in Warsaw, Poland. I am a graduate of the Academy of Fine Arts of Władysław Strzemiński in Łódź Poland, of Interdisciplinary Faculty of Interior Architecture and Visual Arts. Now, I am a candidate to Ph.D. at the Academy of Fine Arts in Łódź – Faculty of Interior Architecture and Fine Arts. I am also designing the daily use objects so the range of my interest seems to be wide, however always linked to the art. What is most important and most valuable to me in every field of my activity is process of creation as its own. At the beginning of my life, my individual memory was linked to the place I was born and this, of course strongly influenced my art. Living in a difficult country and personal history also shaped my personality, emotionality, way of thinking as well as seeing the world and other people. Earlier in my life, I was so introverted in public display of emotion and feelings that my paintings were the only means of communicating to the world about my inside. For me painting was also the strong tool to release emotions I could not communicate verbally and also the way to discover myself. Those days, apart from focusing on my own problems I was also absorbed in the subject of the Earth and humanity collapsing, being strongly touched with the subject of mindless and excessive exploitation of our planet. In my artworks I was building unknown worlds set on distant planets, frozen, out of life with dying suns, or explosions of cold stars. I was escaping for these worlds from myself reaching kind of safe places exceptionally occupied by me. I think the collective, self and individual memories are equal. Individual ones allows the transmission of many personal experiences from which both the artist and the viewer can gain a lot. The collective memory helps in maintaining the group relationship. The artist, referring to the many mass phenomenon as history, racial problems, ecology, science or even love or nature can develop certain attitudes and if they do not shape

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the group perception (because it may be too lofty) is at least touch the hearts and emotions of the viewers, prompting some reflections. Of course, the artist is also saddled with the responsibility for his own emotions communicated through the art. She must emphatically enter a message being aware of the fact that appeals to many people also that choosing specific artistic language she will cause specific viewers reactions. JCAM: Would you like to tell us something about your background? When and how did you start making art? AG: My history seems to be quite interesting. Over 10 years ago I decided to quit the real estate market. The decision was definitely maturing in me over time. My painting passion and love for architecture didn't develop over night, but for many years run parallel to my professional career. Then came the moment when I decided that I had achieved everything I wanted to in the commercial real estate. And I was still young enough to follow my heart. The real estate market had been my true passion for 17 years. I lived out my American Dream, climbing the ladder from a lowly board assistant, through each consecutive rung, up to a director of rental and asset management departments. So there was no pivotal moment that convinced me to quit my job. The new chapter of my life came quite naturally, though I must admit that preparing for it professionally took real effort on my part. I graduated from the Academy of Fine Arts in Ĺ ĂłdĹş and now I am about reaching the doctorate at my alma mater. JCAM: Can you describe the time when you first realized that creating was something you absolutely had to do? AG: Many, many years ago I was driving a car and suddenly I have realized of the landscape beauty I can see through the car window. This moment was a breaking one when I felt the desire to paint these amazing views first time. But I did nothing, being scared I am not able to paint at all. Months were passing and desire to paint grew in me day by day stronger but unfortunately with a fear. One day I decided to go for the painting courses for the candidates to the academy of fine arts just to start to paint and to have an emotional assistance of the others in breaking my fears. Starting these courses I quickly realized that painting it has always been my path. For the unusual technique I have chosen. At each opening of my arts exhibition I am asked always the same question: When did the idea to painting with construction silicone appeared. Why are you using such unconventional material? For some my answer is disappointing some gives food for thought. Unfortunately, I do not know

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where, when and of what reason I have got such an idea. I do not remember this moment when construction silicon seemed to me an interesting material to paint with. I am the architect, I realize many interior design projects therefore, naturally I should observe how workers use the silicone, for finishing the bathroom, and notice that it would be a good medium to paint, but it was not like that at all. It annoys me either, that I cannot grasp this moment at all. Maybe it was the miracle? (laugh). What I do remember very well is that for a long time I have been trying to “tame” the silicon which has been very fickle and not so cooperative. I do remember how many hours, days, weeks and months it took me to explore different types of silicones, their characteristic. How many canvases I have destroyed before I have found the right methods and tools (sometime very bizarre) to layer it and to get the right texture. However, still the most important tool I am using to paint is my hands and fingers. Working with silicon, I had also to solve the problem of the poisonous fumes that is why in the studio I use special masks. JCAM: What are you trying to communicate with your art? AG: In addition to being the painter, I am also the architect therefore architecture, being an important part of my life had and still has a big influence to my art. Architecture you may freely touch with hand, it is rich with textures and here I can see a strong relation between artistic emotions and intellectual perception in my artworks, the architectural way of thinking in some paintings with opportunity to touch them and examine the artworks fractures with hands. Examples of such an approach of mine to the art and architecture as one you can find in the said cycle “Behind The Wall”. Speaking in general about perception of my art and the message to the viewers I have, it is not only viewing it. The same importance as a vision has to me the touch. The work I am doing crosses therefore technology and science as i.e neurology or psychology. The outside world shapes children’s development through experiences that they have, which includes using as a first the senses of sight and touch. Drawing a child’s attention to these senses increases understanding and communication about the world around us and between each other. This kind of atavistic way of experiencing the world is staying in us forever therefore to go back to the roots my art is sensory and all artworks touchable. This is the way I am able to communicate better and deeper with the viewers, and also to pass onto them emotions arisen during artworks creation. In this different and more involved way therefore my artworks are becoming not only to be seen but almost to be felt, engaging emotions, intellect and more senses. It is also uniquely accessible to visually handicapped people, enabling them to see more by specific, almost 3D and very soft textures, as well as to physically disabled or autistic people encouraging them to undertake some action by touching the artworks. Of course

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the children are also enjoying the art, having opportunity to interact naturally with the paintings in an interesting way at early age. To each painting exhibition I also add my poetry to accompany the show letting viewers feel the variety of the artist’s emotions linked to the paintings. JCAM: Do you have any creative patterns, routines or rituals associated with your art making? AG: Most of my projects painting, architectural and designer projects are formed under the influence of emotions, but only in the my head, rarely on the paper. This may seem strange but for me the best creative time is in bed and at the moment before falling asleep. This is when ideas and images appear in my head that I remember and put later on canvas, paper or turn into the real object. However because I paint intuitively, very often such projects are modified by feelings and emotions that arise during painting process therefore what I saw last night might not be the same what I put on canvas. Intuition then, is kind of second to me. I never know which direction “she” will lead my hand. That is amazing feeling. JCAM: What is your most important artist tool(s) and why? AG: I am a great lover of Zdzisław Beksiński’s art, especially his very disturbing images, showing a surrealistic, post-apocalyptic environment with very detailed scenes of death, decay, landscapes filled with skeletons, deformed figures and deserts. I have been always treating them as a serious global warning for the civilization which is step by step destroying itself. And here I can say that my way of thinking is more global and linked more to the human race than to particular race or ethnic identity. We, as an artists, exhibiting our artworks in different countries, have an opportunity to speak to masses of different origin and identities therefore, when I have the chance, I prefer to carry more global messages in my art. JCAM: What is the first artwork you ever sold? AG: I do not remember the first artwork sold but I can remember the weirdest sale I had some 2 or 3 years ago at the opening party of my solo exhibition. An older, distinguished gentleman, not being invited to the opening jumped to the gallery from the street and asked me how much does cost one of my exhibited paintings. I answered him obviously. He just took mentioned amount out of his wallet, paid, took the painting and has gone. All lasted only few minutes so I stood with the money in my hand shocked. JCAM: What strategies would you share with other artists on how to become successful professionally?

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AG: It is good and bad information at the same time that today’s artist to develop career has not only to create the art but needs also to be kind of businessman providing self marketing, PR, new business development departments, has also to have some basic legal and accountancy knowledge. This is difficult circumstances for many artists. Yes, the world is changing rapidly, the rules of art market as well, this is fact therefore it is very important to follow these changes and to adopt to them fast. What is not changing and will never change is when you are real with your art, stubborn, patient, consistent, not hiding from people, open to contacts with them, you are positive person with some art message, the world would see it for sure one day. JCAM: What are your goals for the future, for both work and life? What interesting project are you working on at the moment? AG: As for the future projects. First of all, this year, I want to close on a doctorate at the Academy of Fine Arts in Łódź - Interior Design and Fine Arts faculty. In my Ph.D. studies touch very important subject of “healing architecture” designing cardio surgery unit for the oncology hospital in Łódź. In Poland, hospital patients are suffering in badly designed interiors, mainly due to lack of architects’ knowledge about how strong influence has interior architecture (light, acoustic, colors, materials, sound and even art) to the recovery process. There is no literature on this subject or it is very weak therefore I also plan to write a book in the future. Exhibition of my painting are held almost every two months. This year, the most interesting event I plan in July when I am going to paint with the construction silicone live on a giant stage for around 1000 people. For sure It will be very exciting. This May I exhibited in Łódź. For this exhibition my goal was to come with the retrospective show of my artworks with the participation of my friends who are artists (painters, sculptors, photographers and musicians) and their creations created especially for me. The exhibition was really an amazing show, accompanied by a concert with music composed especially for me. This way I have summarized somehow my artistic activity in Poland because end of the year I am planning to relocate to the United States. I am already under care of two American Art Agents assisting me to develop on the US art market. This May, 5 of my SILICONE artworks were hanged in the company of Sir Anthony Hopkins' paintings at the Jeff Mitchum Gallery in La Jolla. I am very happy about that and I strongly hope I will be able to win hearts and minds of the American viewers. In the United States, The same as in Poland, I also intend to continue interior design activity.

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These are my plans but…… I'm not a believer but I like this idea: "tell God about your plans, you will make him only laugh" (laugh). Anyway, I strongly hope that all goes according to the schedule in the nearest future. JCAM: What or who inspires you? AG: This is very interesting question even my answer will be short. As I mentioned before, most of my paintings are formed only under the influence of emotions. I am painting what I currently feel therefore the only inspiration I have is my emotions, not the objects, views, people, animals or anything I can see, without prior sketches or devising work. Sometimes after a few days of looking at my artwork already I can see its importance and meaning is really has. Even though I started to paint seeing great landscapes outside the window, I have never put them on canvas. JCAM: Do you have a favorite – or influential – living artist? What work of art do you wish you owned and why? AG: Unfortunately, this artist have passed away being violently murdered in 2005 but for me is the only one influencing my way of thinking and he is still alive in me. I am still speaking about Zdzisław Beksiński. What is interesting, he once said: “What matters is what appears in your soul, not what your eyes see and what you can name.” Zdzisław Beksiński 1984

I think that what I do is pure identification with my own inside. This what he said was not too much influential because I have found this secret a few months ago but definitely describes what I am doing. Strangely, it was said by my art guru. For the work of art I would wish to own. Guess, who’s artwork could it be? (laugh)

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Of course that I would dream to own one of Beksiński artworks, especially this one. I am showing the painting because he has never been giving title to his artworks. Why this one? Because “What matters is what appears in your soul, not what your eyes see and what you can name” (laugh). For me this painting through its dual vision of eroticism and decomposition of the body more or less deliberately gives the most concise definition of life that birth is the beginning of the dying process and starts the never-ending discussion about sense of life. JCAM: What does “being creative” mean to you? AG: For a very long time in the history of human thought, creativity was thought of as just that: mysticism, magic, incomprehensible. Many people even today still believe that creativity is granted through some divine power but scientists say that creativity comes because of specific connections of neural pathways. For me, being creative seems to be combination of all above, providing one receives a legendary creative muse that would visit those who are open to the experience. The human mind is said to have more memory locations than the number of particles in the universe. Therefore we are equipped with a unique and powerful equipment to experience everything we want with all five senses that we have. Adding these to the talent that you have and all mystic powers you have been given from the heavens, you can do a lot of incredible things! (laugh). For more please visit: www.agnieszkagzyl.com https://www.facebook.com/AgaGzyl https://www.facebook.com/SiliconeArtworksByAgnieszkaGzyl/ e-mail: contact@agnieszkagzyl.com

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Agnieszka Gzyl “Silicone On Linen”

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Agnieszka Gzyl “Silicone On Linen”

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Agnieszka Gzyl “Silicone And Acrylic Paint On Canvas”

Agnieszka Gzyl “Silicone On Canvas”

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Agnieszka Gzyl “Silicone On Linen” (Detail)

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Agnieszka Gzyl “Silicone On Linen”

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Agnieszka Gzyl “Silicone On Canvas” (Detail)

Agnieszka Gzyl “Silicone On Canvas”

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Agnieszka Gzyl “Silicone On Canvas”

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Agnieszka Gzyl “Silicone On Linen”

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Agnieszka Gzyl “Silicone & Acrylic On Canvas”

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Aljona Shapovalova JCAM: What is your professional name? Where were you born and does that place still influence you? Where do you live now and how does that place influence you? Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life? AS: I changed my name a little and now I sign my work as Aljona Shapovalova  I was born and still live in Vladikavkaz city in the Caucasus region. It is the southern part of Russia.  At the beginning of my creative path, especially during the training in art, local artistic trends influenced me. Now, I think, it does not matter, where I live. I try to be out of any particular territory. I am a “Cosmopolitan” artist, if I may say so. But if we talk not about the artistic currents and schools, but about the situation, then, of course, everything that is happening around in some way affects me as a person and this involuntarily affects my art. My region, the Caucasus, has experienced many upheavals, problems and terrorist attacks. Now the situation has improved, but the past does not disappear so simply. For a long time I worked with only a few colors: black, white and blood red, perhaps it was an intuitive choice, a kind of reflection on what was happening around. My family and close friends (I have very few close friends) support me. Without the support of family it would be difficult to pursue pure art. It allows me not to think about the many everyday problems. JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you make art now? How has your work changed or developed over time? What are you

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trying to communicate with your art? Of the artworks published in this article, is there one of you are which most proud? If so, why? AS: I painted since childhood and I always remember myself with a color pencil in my hands, drawing something. I decided to go to an art school, so, it was my own choice and parents just supported it. For so long I studied art, almost 15 years. Over time this process became very natural for me. But then I had a break for 2 years, when I almost did not create art. Our system of art education gives artistic skills, but finishing an academic university you do not understand what to do the: “How to be an artist?” The year 2009 was a turning point in my art, I began to change my artistic style and look for something new, coming to more graphic, hard style in painting and in building up my compositions. I hope that my art is still developing. Stopping in development in art is an inexcusable stagnation. The question of what I am trying to communicate, to say what my art is about is very difficult for me. I'm quite introverted and, I think, I'm talking about myself in all my works. Existentially is inherent in my work. External influences (news, events around, politics, etc.) are not directly reflected in my art. I can give a comparison with a well at the bottom of which I am living. And from time to time something can get into, get some news, things from “the outside” can get down to where I am. Some art works begin a new period in my art, but I'm not that proud of them more than others. Even so I consider these new steps important. That is why, a new series, a new project begins with them. I feel renewed with each new step, each new turn in my work. JCAM: Do you have any creative patterns, routines or rituals associated with your art making? What element(s) of art making do you enjoy the most and why? What is your most important artist tool(s) and why? How do you know when a work is finished? What are the art making tools you use now? What new creative medium would you love to pursue? AS: I do not have any special rituals. As I said, the creation of art for me is a natural process, just my job and my life. All of this is not divided. I try to work every day and not wait for some “mythical inspiration” which may never come anyway.  I admit, the creation process is fascinating for me. I love all this "artistic cuisine", as paint behaves on the canvas and I like to manage chaos at this moment, at the time of creation. The most important tool for the artist is her brain and hands. It's great if they work equally well together. Some days that even happens for me.

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It is very important to stop in time and finish work at the right time. Therefore, in the final stages of work on a piece, I try to work slowly, to think more than paint, so as to feel, to see and not to miss this moment. Now I work mainly in painting, graphics, collage medium and less – with installation. I have long felt the need to devote more time to installation, objects and work in volume. JCAM: What's the first artwork you ever sold? Do you make a living from your art? AS: The first works were sold in my time as a student. I do not remember what the first was. At this point, yes, I am a freelance artist and I am living from my art. JCAM: What are your goals for the future, for both work and life? What interesting project are you working on at the moment? AS: I'm so arranged that I do not think far into the future. I working in parallel on several themes, ideas, and when I get an interesting offer for exhibition I prepare project for a specific area, a specific place. For example, I recently returned from India where I did a project on the spot in an art residence. I felt very energized by that. JCAM: What or who inspires you? Do you have a favorite – or influential – living artist? What work of art do you wish you owned and why? When addressing a particular work to be published in this interview: Can you explain what inspired this particular piece or idea? AS: I do not want to single out one or more artists as most loved or influencing me a lot. I think now, when information is very accessible due to the Internet and freedom of movement, the artist is in a constant flow of art images, trends and ideas. The artist experiences influence even if she does not want it, unless she closes herself in the studio as a hermit, disconnecting the Internet and limiting any contacts. I never thought about - what kind of art work I want to have, or anything I would like to collect. I have several pictures by artists-friends, but seriously I did not think about collecting art. Basically I work with series of art works, where each work is part of the project, part of one general concept. Here I show works from several series. For example, inspiration, or rather an idea for series ”Caves of technoneolithic” was the interest to modern cave culture of “diggers” (possibly in other countries another term) – “researchers of underground communications”. JCAM: Where do you find ideas for your creative work? What does “being creative” mean to you? What is the best advice you ever had about how to be more creative?

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AS: My art is not narrative, I do not tell specific stories. It is rather about sensations, reflection. Sometimes my paintings are compared to Tarkovsky's films. All ideas come from my own existential experience. I do not know how it is to be creative. In the Russian language the word "creativity" has two meanings, to engage in arts or to do something not standard, not in the same way as others do. I do not think about creativity when I do my art. I'm just working, setting myself tasks, looking for ways to solve them, often I rely on creative intuition. I do not like to give advice on art, because if a person decides to do art she must find her own way; other people's advice does not work here. I do not have ready-made recipes. Art is a process that cannot be stopped, or not taken seriously, if you want to consider yourself an artist.

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Aljona Shapovalova “Stones, Only Stones” / Acrylic On Canvas

Aljona Shapovalova The artist in her studio.

Aljona Shapovalova  “Thermal Water Of Vichy I” / Acrylic On Canvas

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Aljona Shapovalova “Untitled” / Acrylic On Canvas

Aljona Shapovalova “A Man” / Acrylic On Canvas

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Aljona Shapovalova “Look For Signs” / Acrylic On Canvas

Aljona Shapovalova “The Sky Overhead” / Acrylic On Canvas

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Aljona Shapovalova “Banana Leaves” / Acrylic On Canvas

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Aljona Shapovalova “Space of Silence - Part II” / Acrylic On Plywood

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Aljona Shapovalova “Hold On” / Acrylic and Mixed Media On Canvas

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Aljona Shapovalova “Sight Inside” / Acrylic On Canvas

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Aljona Shapovalova “Turquoise Structures” / Acrylic On Canvas

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Aljona Shapovalova “Test Of Strength” / Acrylic On Canvas

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Aljona Shapovalova “Illogical Connections” / Acrylic On Canvas

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Anil Chaitya Vangad

JCAM: What is your professional name? â&#x20AC;¨ ACV: I am named Anil Chaitya Vangad by my parents and that is the name I go by, both as a Warli artist and in my community. JCAM: What do you mean by Warli? Where do you live and how does that place influence you in your work? ACV: There are a lot of small tribal districts in Maharashtra and one such is Warli. The traditional artwork which is an age old tradition is called Warli painting because it represents the community and heritage from which I come. My birth place is in Ganjhar village, now in Palghar district, in the state of Maharashtra, India. My family has been living and working here for the last 3-4 generations. â&#x20AC;¨

My village is really very beautiful. What you see in the Warli art, is our village, our lives

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painted with earth and rice. Though the art is traditional and passed down for many generations, it still shows truly how we live today, our lives documented in the art. Through the paintings you can tell how our forefathers lived and how we spend our time working, eating and the changes we are experiencing in my society today. I observe and study interesting subjects which I see around me and come up with new themes for my paintings. JCAM: I understand this is a traditional art - when and how did you start making art? ACV: Traditionally, the married women (Shuhagan) of the village paint symbolic religious images on the walls of their homes, which are covered with cow dung or mud using white rice paste, only on special occasions such as weddings and births, and for festivals. Both my mother and grandmother are designated “shuhagan” painters who are invited by the villagers to paint traditional images like “Shaadi ka chuk” (marriage blessing drawings) on the walls of the homes to offer blessings to the newlywed couple for their prosperity and well being. The belief being that the drawings invoke the blessings of the forefathers and spiritual gods during these occasions. When I was young, 4th – 5th grade, I would go with my mother to attend many marriages to help her with these wall murals. I remember, she could not articulate what she wanted to show in her paintings but her imagination and creativity was evident in her work. Her observation, and rendering of the drawings all different from each other, influenced me to think like her. Slowly I started joining her by either filling in the color or making small additions to her ephemeral murals. When I was in the 5th grade I participated in an art competition in school where I could paint whatever I wanted. I choose to paint my Warli tradition, a ceremonial theme honoring the “vaag devatta” (tiger god), highlighting what happens during this festival. You see, my dad would often take me to the jungles where they would perform this celebration which accompanied dancing, singing and various rituals. To the outside world it is a fascinating subject with strong visual elements which won me a prize for the painting. Our village head himself awarded me the prize.That was the first time I realized that I was creating art. JCAM: Can you describe the first time you realized that creating was something you absolutely had to do? ACV: I come from a very humble background. I have studied only till the 9th grade in a local government school in my village. The standard of education is very different than what you would learn in a big city. In order to earn a living and support my family I started taking up odd jobs. I also started helping my mother paint more frequently, now, going to other villages for 5 days. Slowly many realized that I too could paint the traditional imagery for the special occasion and invited me. Over time I got better in handling the medium and experimenting with many themes and subjects both on paper and painting directly on the walls.

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When I was about 16, I was asked to paint a mural for a corporation, Infosys, in Bangalore, which was outside my village. That was the first time I got paid handsomely for something that I was getting good at and loved doing. I stayed in Bangalore for 10 days finishing the work. That was my first professional experience outside my village. The mural got plenty of media coverage and publicity in the news and some magazines. I got noticed by an NGO who later invited me to exhibit frequently for their fairs and exhibitions. It was my first time talking directly to people explaining my work and telling them about our tribal history and visual narratives. It made me feel proud of my culture and I decided then that I would continue painting and educating people about my village. JCAM: How has your work changed or developed over time? And what are you trying to communicate with your art? ACV: Till today this traditional art is done on the walls. And I still paint for my neighbors and village on many occasions. Now however the new generation has also started painting on canvas and cotton cloth depicting our tradition and philosophy. I do recognize the fact that with the world, my village too is experiencing many social, economic and industrial changes that my forefathers could not have imagined. I love to show these changes in my paintings and start a conversation about many different topics that are sometimes not spoken aloud or not discussed enough. You see my painting style has not changed but with science evolving I show the influence of that in my life. Like, for instance, global warming. I have painted on that subject so that I can communicate my thoughts through my work on what we can do to lessen our carbon footprint and also educate others about it. Dowry and women's' rights is another subject that I focus on. I want to tell people that though we have certain customs and rituals that are age old like dowry, we have to evaluate it and see how itâ&#x20AC;&#x2122;s affecting lives. In the earlier days though dowry existed, people lived simple lives and were happy with whatever dowry they got. There were no demands but a respect for this custom. But now, it has completely changed. Families are torn apart to pay for the dowry. The women are treated badly and often times beaten to get more money from her family. My message is: Live in Peace. Understand the history and recognize why this custom started. Even today we can maintain the same custom if done with respect and understanding and practiced for the right reasons. With patience and dialogue we can solve many such issues and overcome unnecessary tension in the society. JCAM: Do you have any creative patterns, routines or rituals associated with your art making? ACV: Warli art is a rudimentary wall painting using basic graphic shapes: a circle, a triangle and a square. The circle and triangle come from observation of nature, the

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circle representing the sun and the moon, the triangle from mountains and pointed trees and the square from our sacred enclosure or a piece of land. Human and animal bodies are represented by two triangles joined at the tip; the upper triangle depicts the trunk and the lower triangle the pelvis. Their precarious equilibrium symbolizes the balance of the universe, and of the couple, our gods and human, nature and human. We tribal people depict in our paintings our relationship with nature: the jungle and the mountains, from birth to death. The sun, moon, cloud all are gods, including rain and stone. We worship all of them. Our main education or our wealth is in understanding our relationship with nature. Since childhood we see that when the rains come, what we have to do and how the rain gods bless us. How and what to grow in the monsoons or any other season. We do not learn all this in any school or special lectures in college. We learn more from mother nature. Every season we learn what has to be done, with nature as our teacher. We live in nature far from the city and one day we will go back to this nature when we die. Our relationship with her is a real close one.

JCAM: What are the tools and materials you use? ACV: There is nothing special about the material or tools we use. They are all locally sourced and found around the village. Even though I paint on cotton cloth now, I still use and prefer the traditional materials like cow dung, red mud (gerue) and rice paste to paint. I started using white water based color instead of the rice paste as the bugs were eating them. That’s it! Warli paintings are done with simple supplies using a stylus instead of a brush that I myself fashion with bamboo. The cow dung and red mud are all here in my farm.

JCAM: What is your most interesting subject that you like to paint? ACV: I do not have any special subject to paint. I like painting my traditional themes, like our many dances and festivals. For example, I paint the Tarpa Dance, and paintings of happiness and prosperity in the presence of our spiritual gods and goddess.   The Tarpa is a trumpet like instrument usually played at the beginning of the Monsoon to celebrate the start of the sowing season, surrounded by dancing men and women in a circle. At all occasions – birth, marriage, and death we draw circles, the symbol of Mother Goddess. Death is not the end for us; rather it is a new beginning. Which is why circles best represent the art of Warli, which has neither an end nor a beginning - an eternal circle. JCAM: How did you become a professional in your art form?

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ACV: My village had frequent visitors coming from DCH (Development Commissioner Handicraft), Craft Museum in Delhi, and Craft Council of India, to see and document our lives and traditions. Some were just tourists while others were researchers from other countries. One individual was also making a documentary and writing a book on the Warli tribal community. Some foreigners when visiting my village would notice my art and inquired to buy it. I started selling my paintings. This way I started getting recognition slowly for my paintings right here from my village. My work is now in USA, France, Japan and with many private collectors, museums and galleries in India. I have had shows and exhibitions in the United States including participating at the Santa Fe Folk Art Market with the help and support of Ms. Manvee Vaid who runs an online gallery Deccan Footprints. I also have some galleries who contact me directly for a project and ask for paintings based on certain subject matter. JCAM: What are your goals for the future, for both work and life? ACV: I do not know if I have a goal however, I do have a dream. Something that I really want to accomplish and honestly speaking have been working towards fulfilling the dream for some time now. I usually travel to the city and other places, like museums and galleries to give demonstrations and show them through my art what my culture is all about. Audiences find the paintings and the stories really interesting and captivating and are always interested in knowing more and some want to come to my village, my home, to see and learn for themselves. Some come and stay with me and my wife cooks for them. They want to see how we live, eat and understand our customs and rituals. They really like the first hand experience. My dream is to make a tribal hut, like a museum here in my village where I can display the paintings and our life style. You see, our paintingâ&#x20AC;&#x2122;s subject matter changes according to the season and also the festivals have different themes that I paint on the walls. I want to make a small museum under my name. We use different instruments, like tarpa, which I want to showcase for people to see and learn. JCAM: Do you have to buy land? ACV: Yes, I will have to buy some land for this. Though I have land, it is not appropriate for this kind of project. I will have to ask some other villager for the land and buy it. I will also make some additional rooms attached to this museum for people to live and experience it. JCAM: What and who inspires you? Is there a living artist who influences you? ACV: My first guru in my painting is my mother but now she is old and my wife helps me in filling the motifs and design. Jivya Soma Mashe, one of the foremost artists to bring Warli art on paper, is the person that I respect and admire. He lives in my village. I go to him if I need some help. The way he simplifies the subject in his work is worth learning and observing. He has inspired me but his subjects are always too traditional. I want to

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do something different. I look at his work and see the different subjects he paints, these are simple and traditional, but his imagination is simply great. I want to make works that show my imagination and incorporate the world of today. JCAM: What is the best advice you can give to the next generation of Warli artists? ACV: I want to request all new budding artist of this art style to first take time and make an effort just like me and my predecessors, to understand, learn and then paint our visual narratives and folktales. I feel that new artists are producing a mixed kind of art moving towards something, a modern art, which does not represent the essence of Warli traditions or philosophy. Prints are coming out on saris, scarves, etc. However remember it is our heritage and culture. Respect it and keep it sacred not only for ourselves but for others to respect. It is our responsibility. This should not be diluted. The essence should remain the same. I have a vision and zeal to take the Warli art forward by incorporating the good of the modern world as well as retaining our traditions.

Anil Chaitya Vangad and his family in the studio.

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Anil Chaitya Vangad The artist (On Right) with one of his Warli paintings.

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Paintings / Pigments on fabric

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Anil Chaitya Vangad Warli Paintings / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Anil Chaitya Vangad Warli Painting / Pigments on fabric

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Bandana Kumari JCAM: What is your professional name?  BK: My name is Bandana Kumari, I was born in Khagaul, Patna, Bihar, India. This is also the birth place of the famous mathematician Aryabhata who invented “0”. How does it influence me? This place is very good. This is also a very good question because whenever I think about my value for this place it motivates me and reminds me of the changes I wanted as a young girl. This is the starting place from where I decided to move out into the world. Moreover, I was the first girl of my village who wanted to become an artist. So my village influenced me a lot. One of the important things which I would like to share with you is that the famous installation artist Subodh Gupta is from my village. So this also motivated me to seek out ways to move into the creative arts as a profession. Right now I am living in Bhopal capital of Madhya Pradesh. I live here because Bhopal is the city of lakes and temples, and a place where artists thrive. That is why I am calling it the “temple of artists” because here in Bhopal there is Bharat Bhavan where so many eminent and prominent personalities of art and culture come on a regular basis. This is why I like this place lot and it influences me to do the best work I can do. I have a family in Bhopal. I live with my husband Dharmendra Kumar. I believe that today, whatever I am is because of my hubby. He has done everything for me. He is not only my husband but a friend and mother, father, sister, brother. One interesting thing is that he is also an artist and so it makes him a perfect husband for me. Whenever I need help in painting he helps me and suggests me to do my best and also motivates me a lot too. JCAM: When and how did you start making art? BK: My journey as an artist was not as simple as people think. Because I have faced so many hurdles in my journey and you can say I am an accidental artist.

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I would like to share a story with you. After my 12th, I took admission in college for simple art, and after 2 years, one day I was sitting with my friend who was doing graduation from Patna art college. I asked her, “How do you learn art there, and how can one can get into that college?” She arrogantly replied to me that I could not afford that college and not to bother trying.

Those words were challenging for me and I took it as a challenge. That day I told my father that I wanted to go to Patna art college. My father, surprisingly, said, “OK!” We then went to the college for a visit. The admission forms were difficult but I finally got into that college. I studied and worked hard there. In the college I learned so many things and came to know that this was my real passion.That time my dreams came true. So it is in this way that I have become an artist. Why do I make art? This too is a very good question. I make art because I am hungry to make it. I do not make art for earning money, but it gives me energy. To live without art I am nothing, but with the art I am everything. I started making Madhubani painting from college days; then I tried to make Madhubani in my style. Madhubani painting is famous in Bihar. After some time I modified this Madhubani in my style. In those first days it was very difficult for a girl to work as an artist. Some days it seemed that it would not be possible at all. But my father always used to say, go ahead “my lioness and live your dream”. In those words, strong was the word I always hear from my father, so I have made lioness face in my painting. From my art work I want to give the message that women can do anything and they can live their dream if their family supports them. JCAM: What can you tell us about your current artistic process? BK: I do not follow any particular creative patterns, rituals and routines. I live for the art work and painting is my life. I like to see myself in my paintings and in some works make my own portrait. I always think about my work and my painting, how well I could do new things in the art I can create. I enjoy adding in ornamental designs, animal forms, at the end of the painting, I enjoy decorating the jewelry I place into my paintings too. When is my work complete? When my mind and heart says that the work is done. So it is then that I finish that work. I have other creative influences. I have spent some time in theater also so I like to perform art, and after doing acting I like to paint that acting. In my painting I used to do this often. Here’s what I would do: What I do first is to get dressed like a character that will be in my art work. Then I have photo shoot of that. Ad then I make a painting of that character. So in this way I express my feelings across the whole development of my art work. JCAM: How do you feel about working as an artist? Do you make a living from your art?

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BK: My first work which was sold was titled, “One cup tea”. Now I make living from painting. It has been an interesting journey. JCAM: What do you think about your future as an artist? BK: Up until now I am doing well. And with the grace of god and working as a freelancer artist, I want to become great artist and I want to be known by my work. Yet even though I cannot predict about life, I believe that there is something good is written in my fate. Till now, god has come along with me and in future I also want the same thing from god. Right now I am working on Shree Krishna series. JCAM: What can you share about your inspiration(s) for making art? BK: I get inspiration from women. If I see a woman auto driver I feel proud and get inspiration. I feel proud seeing women in different fields where they are doing a great job and it motivates me. I also get inspiration from other artists. There is one famous artist, A. Rakmachandran. I love his work. Apart from this, one of my teachers who is famous artist of Bhopal, Yusuf Sir who inspired me a lot, and taught me a lot about the work and so many things. If some time in the future I could own any artwork of my choice, I will buy work of A. Rakmachandran's work because I love his paintings.

Other times inspirations just come into my mind. One work named “Rangrasiya” came when I was in my house and thinking about my work. Just in a moment I decided to make a painting about Lord Krishna set as if Krishna would come again today. He would be in a newer style than we are used to seeing him, and he would perhaps come on a motorcycle or bike. So in this way the idea came in my mind and then became a painting. JCAM: What are your views on creativity? BK: Where do I find ideas? When I go out of my room and see women are working in many fields and fighting for their rights in all the fields, I get inspiration from that. Being creative means that I can express my feelings through my painting. In this way I can show how a woman can change the way of life and change all things in the world. As an artist I can use my work to show what I mean.

I too am creative, and when I make a painting I feel myself in that painting. In this way I do not make a painting, I live in the work. Like other artists I sometimes wonder how to be more creative. I believe creativity is a work of silence. By this I mean that if to increase the creative self we should sometimes go alone to work, and we should think about the work which we want to do, and we speak with our work. It will tell you everything.

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Bandana Kumari “Roop Chaudas” / Acrylic Ink on Canvas

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Bandana Kumari “Beauty Pagaent 2” / Acrylic Ink on Canvas

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Bandana Kumari “Photo Session - II” / Acrylic Ink on Canvas

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Bandana Kumari “Photo Session - II” / Acrylic Ink on Canvas

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Bandana Kumari “Couple” / Acrylic Ink on Canvas

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Bandana Kumari “Wighakarni” / Acrylic Ink on Canvas

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Bandana Kumari “Rangrashiya” / Acrylic Ink on Canvas

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Bandana Kumari “Rangrashiya” (Detail) / Acrylic Ink on Canvas

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Bandana Kumari “Bird Queen” / Acrylic Ink on Canvas

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Bandana Kumari “Bird King” / Acrylic Ink on Canvas

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Bandana Kumari “Beauty and Mirror” / Acrylic Ink on Canvas

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Bandana Kumari “Yogini” / Acrylic Ink on Canvas

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Bhawani Shanker Sharma   JCAM: What is your professional name. BSS: Bhawani Shanker Sharma JCAM: Where were you born and does that place still influence you?

BSS: I was born in Banasthali Vidyapith, district in Tonk, Rajasthan, India. My birth place had a significant influence on me and this is visible in my series titled “Fair” wherein I had transformed peacocks into human forms. JCAM: Do you have family, friends or fellow artists who support you in your work, life and art making and how do they make a difference in your life? BSS: My family includes my wife, 2 sons and daughter-in-law. My wife and younger son stays with me in Jaipur and elder son and his wife are settled in London. My family has always been a facilitator in my work, especially my wife, an academician, has been a great support in my creative journey. Without her support it would have been very difficult to achieve what I have achieved in my life. JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do?  BSS: My father and uncle were artists and my grandfather was a poet. I can say that art was in my blood since my father himself was among the world’s 18 best bird artists. I always had an easy access to the art materials.

I remember that I started painting since I could hold pencil and brush. I used to play with father’s art materials. In 1952 during my school days when my work was appreciated during a group exhibition of students and teachers at New Delhi All India Fine Arts and Crafts Society, I decided to make my career in the field of art. JCAM: Why do you make art now?

BSS: I make art for creative and aesthetic satisfaction and to continue the exploration of

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my artistic capabilities.  JCAM: How has your work changed or developed over time?

BSS: Over the 50 years of my art journey, my artwork has undergone a lot of changes. From sketch book to large wall murals, pencil and pen to chisel and welding tools, my artwork has witnessed a lot of changes. The only thing which remained the same was my love for nature and continuous experimentation with different art forms.

JCAM: What are you trying to communicate with your art?

BSS: Through my different series of artworks I have tried to communicate a different message. For example, through my “Flowering of the Forms” series I have tried to depict the complex relationship between man, nature and animal, revealing through the pseudo-creature himself and his kinship with nature, bridging the gulf between the real and useable world. It is depicted in a simple and subtle manner. JCAM: Do you have any creative patterns, routines or rituals associated with your art making?  BSS: No set patterns, routine and rituals for me. Art is a form of expressing one’s creativity and creativity cannot spur when it is bounded with rituals, routine and set patterns. Journey of art making should always be free, with no boundaries, exploring new dimensions every time one works. JCAM: What element(s) of art making do you enjoy the most and why? BSS: I always enjoy sketching and drawing. JCAM: What is your most important artist tool(s) and why? What are the art making tools you use now?  BSS: Pencil, pen, ink, colors and brushes are my favorite tools because I can use them spontaneously. Nowadays I am using chisel to carve a wood mural. JCAM: How do you know when a work is finished? BSS: When total harmony of colors and forms is achieved I realize that the art work is finished. JCAM: What new creative medium would you love to pursue?

BSS: I am trying to explore more in wood relief work and want to try sand stone and marble also. JCAM: What is the first artwork you ever sold?

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BSS: A color sketch was the first artwork which I sold in 1972 during my first show at Jahangir Art Gallery, Mumbai. JCAM: Do you make a living from your art ?  BSS: Yes, I make living through teaching art in the University. JCAM: What strategies will you share with other artists on how to become successful professionally? BSS: To be successful artists should be true to their creation and always be in dialogue with the connoisseur. JCAM: What are your goals for the future, for both work and life?  BSS: I want to continue my creative journey and remain involved in doing aesthetic orientation of students, art teachers, designers and architects so that I can contribute towards the art fraternity with my experience. I also want to revive and revitalize Jaipur fresco technique through organizing workshops. JCAM: What interesting project(s) are you working on at the moment?  BSS: I am working on a wood mural and planning very soon to start working on a fresco. JCAM: What or who inspires you? Do you have a favorite-or influential-living artist?  BSS: Nature and colors of Rajasthan have always inspired me. Further, visiting different places always gives energy and stimulus for my new creations. Apart from Professor K.G.Subramaniam, who passed away recently. Professor Jyoti Bhatt is my favorite living artist. Both of them were my teachers in college days. JCAM: What work of art do you wish you owned and why? BSS: I wish to own paintings of Shanti Dave because he explored calligraphy and thick textured color forms with Indian contemporary vision. JCAM: Where do you find ideas for your creative work? BSS: Nature is my great source of my inspiration. JCAM: What does being creative mean to you? BSS: Creativity according to me is visualizing in your own way and transforming it in a spontaneous manner.

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JCAM: What is the best advise you ever had about how to be more creative? BSS: Understanding the sensitive rhythm of nature will help in being more creative as nothing on this planet is more creative than mother nature.

Bhawani Shanker Sharma at work.

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Bhawani Shanker Sharma “Lord Ganesha” / Acrylic on Canvas

Bhawani Shanker Sharma “Peahen at Riverside” / Acrylic on Canvas

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Bhawani Shanker Sharma “Bull” / Welded Iron

Bhawani Shanker Sharma “Cock” / Welded Iron

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Bhawani Shanker Sharma “Fair II” / Acrylic on Canvas

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Bhawani Shanker Sharma “King Peacock” / Acrylic on Canvas

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Bhawani Shanker Sharma “Peacock Family” / Wood & Metal Sheet

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Bhawani Shanker Sharma “Untitled IV” / Wood Print

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Bhawani Shanker Sharma “Untitled I” / Wood Print

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Bhawani Shanker Sharma “Flower” / Jaipur Fresco

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Bhawani Shanker Sharma “Cityscape” / Wood

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Bhawani Shanker Sharma “Flowering of the Form - III” / Ink on Paper

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Bhawani Shanker Sharma “Flowering of the Form - II” / Oil and Ink on Canvas

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Bhawani Shanker Sharma “Flowering of the Form - I” / Oil and Ink on Canvas

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Bibekananda Santra JCAM: We are excited to feature the work of Bibek Santra. Mr. Santra was born in West Bengal in 1968. He pursued his arts education in both India and France. Bibek has won numerous awards for his art work in India. Additionally, Bibek Sandra has exhibited his work, done workshops, art festivals, and artist residencies in India, Hungary, Singapore, Switzerland, Turkey, Russia, Indonesia, Greece, the USA, England, and France. His work has been featured in more than 180 selected and invited exhibitions world wide. Bibek is currently involved in a nearly daily activity of creating what he calls “public art”. What follows is a short series of talking points that Bibek has supplied about his “public art” projects. A number of images from various “public art” projects form the gallery pages documenting Mr. Santra’s work in various locations in India. JCAM: What can you tell us about your ongoing “public art” projects. BS: “What is “PUBLIC ART” for me? Public art: It is my idea of an effective way to enhance art awareness, a beautiful fiction that all can see, and it is accomplished through my creative ways of working. Public art: It is done very much in the simplest way I can image and practice.There is always some inner message at work. I think it is not necessary for everyone to understand all of a work. It is of utmost importance to put that work out where all can see.

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Public art: Each work is different. Sometimes works are colorful, making us jolly, and sometimes they are black and white, revealing the gloominess that lurks within the deepest and darkest corners of our society and ourselves.

Public art: It is about my respect of the nature of each situation, because I am using different spaces — just as I find them in each place. Public art: With my work, it is not a permanent thing, it is only for the time being. It is there and then it is gone, but not from the memory of those who witness it. Public art: It has nothing to do with conventional art market. It is in part about my enjoyment of interacting with common people of each location that bring all participants joy and begins conversations about art. Public art: I am living in a society that is huge. It is perhaps impossible to change it much. Even so, it is a way to do something positive for my society. Public art: As a native Indian I have a tremendous positive message to carry through my public art to other Indians about our daily life, our emotions, our dreams, our spirituals and our ritual sensations and traditions.

Public art: As an artist I am not going to give a direct message to the audience. For me public art is a kind of symbolical presentation that is most effective when accomplished in a simple way that is most effective for each space in which it is presented. Public art: I personally believe that every creative person must find a challenging way of working that will do something of value both for himself and his neighbor. Public art: I think successful public art is unconventional. It does not come out from a regular box like some product from the store. This kind of approach is what we used to call contemporary art practice. Public art: As I am an Indian and live in that society my biggest possibility for creative practice is to do public art. Lots of possibilities are easily available here. We have many different kinds of natural space, traditional architecture, and a huge population. I will never run out of places to work or people to interact with. Public art: Most of all I simply love to do experiments with different ways of creating imagery and creating novel installations in public places. I do believe in my ability to do this, and I enjoy doing it too. Public art: I am going to continue working in public locations, in working in various ways, while always thinking about how I can use artistic factors such as space, surface, and media. I will carefully consider such things while presenting my commentary on important contemporary subjects and topics of interest to me.”

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