Symphonic Existence propels Nepali culture

KATHMANDU: Symphonic Existence, a group art exhibition featuring works by artists Roshan Pradhan, Pradhumna Shrestha, Pasang (Mangal Putra), Mala Shrestha, Lisha Gaihre, Kishor Jyoti (Young Flame) and Rudra Bahadur Pun, kicked off at Nepal Art Council on Friday, March 30.
Artist Roshan Pradhan, who is also the director of organisers Pagoda Group and the co-ordinator of the exhibit, said that the ongoing exhibition is part of the Group’s endeavour to provide a platform to connect the dots between a work of art and the overall thought process of the artist. “[We aim at] giving a powerful outcome in the form of visual arts which can address the present situation of the world in relation with the artist’s mind,” Pradhan writes in the exhibition manual.
The exhibit has on display works by seven artists, who, according to artist and art writer Madan Chitrakar, “regardless of the diversities in cultural and social backgrounds, are bound by a common desire—to explore deep inside one’s own mind and then create as dictated by the inner conscience and individual thoughts,” while “staying away consistently from anything other than a cause of art.”
With three solo shows to his credit and several group exhibits, artist Roshan Pradhan has two notable pieces on display at the ongoing exhibit—Unconquerable Soul (oil on canvas) and Alchemy of Life (acrylic on canvas). Most of Pradhan’s work feature human forms as their central subjects, human forms, according to Chitrakar, “with weird shapes… and created with an unflinching faith and the self-confidence or invincibility of a mind.”
Pradhumna Shrestha’s works revolve around the motif of gradual erosion of cultural values and norms, his subjects harkening back to the rich cultural past of Kathmandu Valley. While artist Pasang’s works borrow elements from the illustrious Thanka tradition and have a strong Tibetan influence. Likewise, the primary element of artist Mala Shrestha’s work is the Buddhist iconography, with her works peppered with different mudras—Abhaya and Dharmachakra—found in the iconography.
Lisha Gairhe’s work—Goddess of My Soul and Vyakul, to name a couple—revolves around the overarching theme of the womanhood, through which, according to Chitrakar, she has sought to reveal her delicate feelings. While artist Kishor Jyoti’s works present the figurines of wild animals as their central subjects. Artist Pun’s works feature rural landscape as their central subjects.
“While going through the entire series in a quick running look, with one or two exceptions, it presents an interesting array of visuals in diverse attire, poses, settings and supported by varies choice of enhancing colours and decorations,” Chitrakar writes in his preface to the manual. “Stylistically, the artists have displayed amazing sense of patience for meticulous details, and the works are accompanied by highly imaginative and dramatic settings to the central figure.”