Rashtriya Lalitkala Kendra regional secretary Shri Ramakrishna Vedala and senior Odia Artist Shri Ramahari Jena speaking at artists presentation

Shri Ramakrishna Vedala, regional secretary, Rastriya Lalit Kala Kendra, Bhubaneswar and National awarded, senior odia Artist Shri Ramahari Jena were expressing their vews on this very new art project named Renewed Intensity, Mr. Vedala has compared the event with other international art projects after witnessing work of all participating artists where Mr. Jena was overwhelmed by this initiation by young brigade of AlumniBKCAC.

An interaction with Jagannath Panda by Dr. Pradosh Mishra at the begining of Artists Presentation

On 25th Jan 2010 at 6PM evening it has started Artists presentation of RENEWED INTENSITY , a public art and site specific art workshop organized by AlumniBKCAC on the eve of Silver Jubilee Celebration, B.K.Art college. The Venue was Rashtriya Lalit Kala Kendra, Bhubaneswar.
This video clip showing the initial phase of presentation where Initiator Dr. Pradosh Mishra is interacting with Curator Jagannath Panda about this project, he's asking question in local Odia language, all other present in dice , Prof. Deba Patnaik, Ramakrishna Vedala, Adwaita Prasad Gadanayak and Ramahari Jena.

Pradosh Swain has attempted global issues in simplest and readable visual term.

Any work of art for that matter has certain ideas to deliver, but this seems to have engaged the viewer with more than one implication. Initially aimed at presenting the environmental issue, that is one of the phenomena, quite clearly depicted by many artists of the present day. It is uniformly received by the politicians, sociologists, scientists and artists as well. ‘The habitation in nature’ an exhibition showing Pradosh Swain’s recent works at Ashok Art Gallery.

Concrete Demon illustrates a typical and unusual scene, amazing and interesting too. The manuscript unfolds to release Lord Rama with his attributes, bow and arrow, to kill the concrete mixture that is commonly seen at the construction sites. It has several layers of implication: dwelling between tradition and modern, oppression and liberty, nature and environmental hazard, mobility and stillness and so on. It presents a feeling of awareness and concern.

Rama, the maryada purusha, as he is commonly known and we believe had a genuine understanding of nature as he lived his significant part of life within nature, interacting with various aspects and adopting several laws of natural world. He is seen liberating the self to take on the direct fight once again with the demonic form (concrete mixture = Ravana) to bring back peace to the mankind unaware of the fact that in this corrupt world, what wins is not the environment but the brokers of nature, while the sufferer is entire world.

In the present day, Rama has become the source of inspiration to many; politically, environmentally, culturally, as people have conveniently adopted him. Now he has been reduced to a manuscript as an abode, cultivating the nature within the parameters of palm leaf. A simple narration that recreates the Rama in Odissi Pata painting form and symbolically covering him with the foliage, to relate nature in him; palm leaf as a major and popular medium in Orissan traditional art is placed intelligently to show the manuscript and a horrifying background depicting the uncertainty of human life. The composition is poised with intellectual input and social awareness.

The world is changing and also the attitude of man. Travel is part of human being’s life. With every passing day more and more information regarding the destinations are reaching us motivating us to explore the new area of substance. Reasons of such moves are many, ranging form family holidays to corporate leisure. Many natural sites are revisited and new sites introduced to us. We move from place to place encroaching the nature’s domain and without even being careful. Often we ignorantly spoil the nature and sometimes become more adventurous in misusing the resources. This has resulted in the natural devastation and we can feel the heat of global warming all through the globe. We have started paying the price for someone else’s fault. Towards Wind seems to present before us the nature that is supposed to nurture us, our lives and motivate our minds, inspire us to face new challenges, has now started throwing new challenges to us pointing its protection and expecting a little compassion and love for itself. We have reached a pitiable condition, where no road leads ahead.

A time would arrive when we would need a fan painted with nature (allegorical) in a hill top (station) to satisfy us from heat. The extent, as the artist has pointed, might go up to reaching near to the fan blades to occupy the most of air the fan delivers. The message is clear and loud, save it (nature) to be a part of it or stay alone to die hard.

The cities are now developing fast and at a disagreeable pace. The requirement of man is getting wider day by day. To achieve these desires one makes compromises with the nature, its habitants and the balance. We have significantly converted the animal’s bay purposefully to suit our ideals. So every other day we hear news about tiger creeping in to village and start shouting about the facing new danger. Rationally we have threatened their habitation in nature. The spread of the cities never care about the essential ‘other’. Fisher in Metro is just about that. In the image showing the kingfisher (namesake) sitting on a basket ball net (replacing the tree branches) and concentrating on a swimming pool (replacing the village pond), which is temporarily set on a spatula (showing its position), while a young woman is diving into the pool. This visual narrates the reality; of how the cities are facing structural conversion everyday, the danger of scarcity facing us today and its horrifying future and similar struggle.

Pradosh Swain has attempted global issues in simplest and readable visual term. What interests me is his concern about nature and its protection in order to avoid the Global Warming. ‘The message is not new’, as he explains, ‘and it is not educating too. I just paint to define my understanding of the subject’. He adds, ‘much has been spoken and delivered visually by the NGOs and similar volunteer organisations to mass through electronic and print media. But artist has his own creative view point that sometimes visualises the imagined future’. Let us not make big promises that are difficult to keep but small acts that are easy to follow in order to upkeep our environment. Is someone practising! Pradosh Swain works and live in Delhi, India.

Dr. P. K. Mishra (Art Historian)
Presently Serving as Associate Professor, BHU

Pradosh Mishra and his doctoral research on Emerging Trends in Contemporary Indian Painting

PRADOSH MISHRA

Associate Professor, Department of History of Art
Faculty of Arts, Banaras Hindu UniversityVaranasi-221005

Topic of Doctoral Research

Emerging Trends in Contemporary Indian Painting during 1990 and 2004: A Study in the perspective of Globalisation and National Identity

Area of Specialisation

Contemporary Indian Art, Traditional Sculpture Workshop in Orissa

Fieldwork

Since 1994 documenting living and working conditions of Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa

Professional Experience

Teaching 11 years

I) Post Graduate courses in History of Art (Indian Aesthetics, South East Asian Art, Pahari Painting, Contemporary Indian Art, Art Exhibition Management)
II) Graduate Courses in History of Art (Western Art, Indian Sculpture, Indian Painting, Fundamentals of Indian Art)
III) Post Graduate and Graduate Courses in History of Art at Mahatma Gandhi Kashi Vidyapith, Varanasi (Western Art-Modern and Post Modern) as a guest faculty.
IV) Post Graduate and Graduate courses in History of Art at Faculty of Visual Art, BHU Varanasi (Modern Indian Art- Painting and Sculpture, Modern Western Art) as a guest faculty.
V) Graduate Courses in Mahila Mahavidyalaya, BHU, Varanasi (Indian Painting) deputed by Department of History of Art, BHU


Publication/ Editorial Association

Workshop Tradition in Orissan Sculpture (in Press)

Co-Author, ‘Chandrasekhar Rao- Life and Work’, with Dr. Dinanath Pathy, published by Working Artists Association, 2000

Editorial Assistant, Kala Samvad, Lalit Kala Akademi, New Delhi, 1995

Associate Editor, ‘Tribal Art, Primitivism and Modern Relevance’, published by
Working Artists Association, 1990


Papers and Articles Published

Contemporary Indian Art: New Imagery and the Question of Identity, paper published in NAFA Symposium on New Asian Imaginations, Singapore, 2008

Globalisation and contemporary visual art: A case study of India, paper abstract published by the ICAS 5, Kuala Lumpur, Malaysia, 2007

Shifting Mind-Engaging Space, Bronze, Gallery Espace, New Delhi, 2006

The Problem of Art Historical Studies in Orissa: Vision and Contribution of Dinanath Pathy. (paper accepted for publication)

Spelling the Regional Flavour, ‘Let a Thousand Flower Bloom- Contemporary Art Of Orissa’, Aryan Book International, New Delhi and Working Artists Association of Orissa, 2001

Figurative Transformation, Oddiyan: Six Contemporary Painters of Orissa, Herman Publishing House, New Delhi, 1997

Reverberation, Exhibition Catalogue of Chandrasekhar Rao, 1997

Into the Realms of Unknown, Beyond the Shores, Viswa, New Delhi, 1995

Primitive Influence on Udayagiri Cave Sculptures, Tribal Art, Primitivism and Modern Relevance, Working Artists Association of Orissa, Bhubaneswar, 1990

Number of Reviews, Art analysis on contemporary art and Book reviews published in the Daily Newspapers in Orissa.




Catalogue Publications

Art Interaction, Documentation of Indo-German Artists Workshop, Varanasi, 2003

Regional Art Exhibition, Varanasi Zone, Lalit Kala Akademi, Lucknow, 2002



Seminar Participation and Papers presented

Contemporary Indian Art: New Imagery and the Question of Identity, paper presented in absentia in NAFA Symposium on New Asian Imaginations, Singapore, 2008

Possibilities of Lacquer in Contemporary Art as a medium: New Dimensions, National Seminar on Lac in Indian Art and Culture, Balasore, Orissa, 2007

The Living Tradition of Stone Carving in Orissa: Texts and their present Relevance with reference to Master Artist Khirod Chandra Maharana of Lalitagiri, National Seminar on Silpa Texts and its Relevance, Jnana Pravaha, Varanasi, 2003

Shift in Stone Workshop Practices- a case study in Lalitagiri, National Seminar on Art Practices in India Today, Bhubaneswar, 2001

Traditional Linkage in Contemporary Orissan Art: Towards a Regional Vocabulary, National Seminar in Millennium Multimedia manifestation, Bhubaneswar, 1999

Concept of time in Dancing Sculptures of Konarka, International Symposium on Sculpture and Dance, Varanasi, 1999

Urban Experience of the Contemporary Artists of Orissa with reference to Working Artists Association, National Seminar on Urban Image in Contemporary Indian Art, Faculty of Visual Arts, BHU, Varanasi, 1998

Himalayan Landscape Painting by some Contemporary Indian Painters: An Observation on treatment of Space, National Seminar on Himalayan Glory, Allahabad Museum, Allahabad, 1998

Participated as an Observer in the National Seminar on Terms and terminologies in Indian Art, Lalit Kala Akademi, New Delhi, 1994

Primordial Influence on the Paintings of some Contemporary Painters of Orissa, National Seminar on Primitive Vigour as a part of Festival of India to Moscow, Lalit Kala Akademi, New Delhi, 1991

Importance of Art Education in Primary Schools in Orissa, State Seminar on the Status of Art Education in Orissa, Bhubaneswar, 1989

Contemporary Art Situation in Orissa, National Seminar on the Contemporary Art and Artists of Orissa, 1988



Workshops Attended

Workshop on Indian Bronzes, Sarabhai Foundation, Ahmedabad, 1998

Art Appreciation Workshop, Lalit Kala Akademi, Orissa, 1996

Technical Workshop on Conservation and Preservation of Art Objects, by Indian Conservation Institute, Lucknow, organised at Govt. Museum, Chandigarh, 1993

Painting Workshop organised by HABITAT, Bhubaneswar


Member of Professional Bodies

Member, Working Artists Association of Orissa, Bhubaneswar

Member, Indo-German Art Forum, Varanasi, India


Projects

Art Interaction- Exhibition of the produce of Indo German Artists Workshop, Jointly Organised by the indo German Art Forum and Department of Fine Arts, Mahatma Gandhi Kashi Vidyapth, Varanasi, 2003

Joint Organiser of Indo- German Artists workshop held at Department of Fine Arts, Mahatma Gandhi Kashi Vidyapith, Varanasi, 2003

Graphic Prints and Paintings by four German Women Artists, ABC Art Gallery, Varanasi, 2003

Visualised the Regional Art exhibition organised by State Lalit Kala Akademi, Lucknow, 2002

Visualised Painting and Photo Exhibition, Himalayan Glory, Allahabad Museum, Allahabad, 1998

Art Director, Swang Manch Theatre Group, Chandigarh, 1994

Audio- Visual Documentation of Contemporary Orissan Artists, Central Lalit Kala Akademi, New Delhi, 1993

Awards

Award by Orissa Media Centre, Sunanda Pathy Foundation and Bhubaneswar Sahitya Samaj for Art Historical Studies and Art Criticism in Orissa, 1997

State Award for Painting, Working Artists Association of Orissa, Bhubaneswar, 1997

Chhanda Caharan memorial State Award, 1997

Award for Best Painting and Cartoon in Panjab University, Chandigarh, 1994


Exhibitions Participated

Working Artists Association, Orissa
State Lalit Kala Akademi, Orissa
Rashtriya Kala Mela, Bangalore
Regional Art Exhibition, Bangalore
State Level Art Exhibition by All India Fine Art and Crafts Society, New Delhi
Beyond the Shores, Rabindra Bhawan, New Delhi
Spring is Not Over, Punjab Lalit Kala Akademi, Chandigarh

Solo Exhibition

WASH, Watercolour Painting Exhibition held at Hotel Oberoi and Hotel Kalinga Ashoka, Bhubaneswar, Orissa

Pradosh Kumar Mishra received his education in Bhubaneswar, Chandigarh and Varanasi. He completed his Doctoral research on Emerging Trends in Contemporary Indian Painting, a Study in the Perspective of Globalisation and National Identity from 1990 to 2004.
He has produced an audio-visual documentary on Two Contemporary Painters of Orissa for National Lalit Kala Akademi, New Delhi in 1993, and has extensively documented various living Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa (India) under the project Workshop Tradition of Orissan Sculpture from 1994 to 2000.
Mishra also co-authored a monograph entitled Chandrasekhar Rao: Life and Work, published articles on Contemporary Art in publications entitled Bronze (2006), Let a Thousand Flowers Bloom (2001), Oddiyan (1997), Beyond the Shores (1995), and Tribal Art: Primitivism and Modern Relevance (1990).
He has presented papers at several national seminars on art historical studies and participated in an international symposium on sculpture and dance, organised by Ram Chhatpar Shilp Nyas (1999), and Art Interaction, organised by Indo-German Art Forum (2003) at Varanasi.
Pradosh Mishra is an alumni of BKCAC and he is working as a Exceutive member of the organization

AlumniBKCAC

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Campus Office : B.K.College of Art and Crafts,Tapovana,KhandagiriBhubaneswar, Orissa, India, Pin-751030

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