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This research work deals with the case study on the visual practices of Odia diaspora artists within India. This work focuses on different perspectives and modes of representation in visual practices throughout major centres in India. It describes the artists who are practicing outside the state of Odisha. Predominantly they are based in Delhi. Their exposure to new material and art making helped them to explore various mediums to express their own self. But their own-self is deeply spread in their regional right and hence number of elements continued in their pictorial form derived from their regional locations. The case study has conducted as important artist for instance, Birendra Pani, Shudhanshu Sutar, Jagannath Panda, Pratul Dash and Bibhu Pattnaik. Many have derived their visual source from the traditional form natural in the state of origin. For example ‘Gotipua’ becomes a visual metaphor in the works of Birendra Pani, Sutar draws inspiration from folk theater of Odisha and structure his form based on the folk theater in order to address the problem of endangeredness. On other hand Jagannath Panda and Pratul Dash expose themselves through the idea of nature & culture, local & global, traditional & modern, rural & urban etc.

1. The study of Odishan contemporary art and their regional identity through a critical study of the evolutionary process in style and conceptual language, the objective is to understand the historical background and the concept of their work and working conditions. 2. How they are incorporated their regional identity through contemporary practice. 3. Amalgamation of traditional art with contemporary art. 4. Juxtaposed of local and global within a frame & express the idea of urbanization over rural in name of development.

The Journal of the ‘Odisha Lalit Kala Akademi’ titled ‘Rangarekha’ (1977-90), has published in the regional language, biographical sketches of some of the artists, and has reported the annual activities of the Akademi. In some of these publication, they discuss aesthetic qualities of patta paintings, but never caries any information on the situation of modern art in Odisha.

A monograph on Sarat Chandra Debo[1] by Dinanath Pathy was published in the year 1992. Here he basically argues on Sarat Chandra Debo’s distinctiveness of works and briefly discussed his life sketch. Durga Prasad Pattnaik’s book on Bimbadhara Varma[2], is a biographical text and this work hardly describes the history of visual art practice in Odisha.

The history of pre-90s gallery art practices in Odisha has received the attention of very few scholars and writers. It was Dinanath Pathy, who for the first time mentioned, few modern art and artists of Odisha in his edited book titled ‘Let a Thousand Flowers Bloom’(2001) from 1950 to 2000. Therefore, one may say that he did not focus deeply to analyze the emergence of modern art in Odisha, as a chronological development and did not even provide a proper documentary history of the then art practices. Therefore, Dinanath Pathy’s writing a systematic detailed analysis, and only an overview lacking any analytical information.

According to Gayatri Sinha, modern art started in Odisha due to powerful influence from Kolkata by amalgamations the ongoing traditional pictorial norms. Moreover, she talks about the ‘Odisha Lalit Kala Akademi’, which has failed to promote the development of modern art movement. She made a good attempt to map out the history of modern art in Odisha in her analysis.

A biographical writing by Dinanath Pathy on Ajit Keshary Ray is ‘Portrait of a Painter’, where he explains his life history and work as well as the situation of modern art in Odisha in few sentence only. The work by Nivedita Mohanty and Subhanjoy Mohanty on Bipin Bihari Choudhury, is a biographical history of a painter than any critical understand of Choudhury art works.

In 2007, Amit Mukhopadhayay published a catalogue on contemporary regional art on Odisha, Bihar, Jharkhand, Madhya Pradesh and Chhattisgarh, and also curated an exhibition of modern art from these regions. He wrote in a short introductory essay on regional art that, “there are such problems due to lack of proper documentation and absence of art historical writing in the region itself.” In this catalogue three critics wrote on three artists, Shyam Sharma on ‘Upendra Maharathi’, Debaprasad Pattnaik on ‘Gopal Charan Kanungo’ and Soubhagya Pathy on ‘Muralidhar Tali’. These essays briefly explore the analytical understanding of artist’s work.

 ‘Aesthetics of Pictorial Language’ was written by Soubhagya Pathy in the year 2006. In this book, there is chapter on “Easel Paintings, Installations and Happenings: Language Alien”, that focuses on the easel paintings borrowed from western academics, an introduction of new art language aesthetics. This book shows that how the native art language has undergone a change with the impact of modern art movement of the west. It includes few art works (one work each of few artists, between 1990 to 2000). It makes not serious attempt to trace the trajectory of development as the modern art of Odisha. Sangram Jena has written about prominent painters and sculptors of pre-independence period of Odisha in one of the regional journals ‘Nishanta’ (2011). He has given a single biographical information on with not any explanation to the artist’s works.

Bibhu Patnaik is a painter, who is working on the basis of regional approach with his creative explorations and visual art practice in Delhi. His art works show traditional literary affinity along with ideas of images and vision approach with traditionalism hangover. These ideas come to him through the training in the handicrafts training school at Bhubaneswar. His art works render a regional cultural sense in a rather global term. His concept depicts today’s images on the traditional and cultural practices of Odisha.

He has tried to skilfully transform his feelings and thoughts into the pictorial language of visual art of paintings. Sometimes he wrote Odia text on canvas through style of pattachitra painting and motifs. Patnaik had a training in the traditional style of painting on pattachitra, where in, the series of gods and goddesses are depicted in the traditional format .

Title ‘Jacobijns Birthday Party’ in 1999 (fig.01) a girl in western clothes is decorated within traditional, rhythmic patterns. While the girl being decorated by a transparent cloth over her head and small bindis around the face. The yellow as background of painting shows the light of life, this idea of this painting found during the birth day. A western girls’ birthday was celebrated by her Indian friend, in India. Bibhu tried to represent the decorated figure of a western girl through traditional approach.

Title ‘untitled’ (fig.02), is shows a lie down figure is shown on the earth and the low mountain lines on the body curves, which seem to be full of sensuousness. All the motifs are suggestive of the character of the whole feeling. Another portrayal by Patnaik, direct by used the pattachitra style to express the various feelings of meditation man.

Fig.03 (title- untitled),  depicted as a recreation of a pattachitra painting Patnaik always bring back the motifs and forms of pattachitra painting in his practicing. In this painting, all the motifs and forms are refered from the pattachitra painting. Banana tree symbolize practice of one of the major ritual tradition in Odisha, which is predominant among the Hindus in the state. Fig.03, fig.04 and fig.05, are the direct representation of mythological character invoked through the forms of pattachitra painting.

Pratul Dash is from small town Burla, in Odisha. He grew up visualize the openness of landscapes near his native town. However, after his completion of bachelor’s degree at B. K. College of Art and Craft, Bhubaneswar, he moved to New Delhi where he had master’s degree at the College of Art. From the beginning of his career, he started a series of paintings on his native place. During his living in New Delhi, he had wonderful exposure to various means of making art in the gallery space. He has worked on multiple mediums such as, drawing, painting, installation, performance and digital art. Some of Dash’s works deal on his own life, regional issue projected through various mediums. 

Title ‘industry’ and ‘construction’ (fig.06, fig.07, fig.08, fig.09 and fig.10), is represent due to Pratul’s interest in postmodern concept and provide a potent critic on social issue. His water colour works deals with the particularities of displacement of rural space; especially the displacement of the rural people for the development. In this painting, Dash criticized the Hirakud Dam project at his home town. Lot of people were displaced for the Dam project, and in their place, the Government built town for developing industry near the Dam. As long as this Dash has observed that as long as the industry grows, slavery also keeps increasing to build an industry and town.

After experiencing natural landscapes at his native place, Dash became more and more concerned with the expanding cities where open spaces are invaded to build town ships. His works reflect his concerns for the environment as well as his own experiences as a man from a simple town leading a simple life and is now, thrown unprepared into the chaos of urban spaces. On close examination, one can observe the displacement of public from their own land where people to existed as as a rightful citizen rather than a refugee, but now their displacement turned them into the states of refuges without their democratic constitution.

Through his paintings, Dash laments the all round environmental and social degradation. He observed that how the degradation is occurring in the small town as is reflected in his own native state at a very different scale.

Fig. 11 is one of his photographic works called ‘skeleton’. In what appears like a burial ground for old machinery, one finds stone crushing machines, but no labourers in sight. The labours have long time since migrated to other cities in search of jobs for their living hood. The work was inspired by a trip to Burla where he found that an entire mountain and agricultural land had been disserted without any people.

While Dash engaged with painting, but at the same time, he involved in video works. One of his video works titled ‘untitled’ (fig.12 and fig.13), show that Dash has specially prepared for his exhibition in his native village in Orissa. He performed of tying himself with a thread, which could read as be a sacred thread that demarcates his caste position, around his head and face. The violent action with which he ties himself turns his face into a distorted mass and the untying of the thread leaves a mesh of markings on the skin. It looks like a body drawing, using body as the medium and surface.

Another video art ‘The Story of a Landscape’ (fig.14) and Conch Blower (fig.15) is an extended part of his paintings on the subject of displacement. It is a digitally stitched video of two of his video works. The video depicts the devastation caused to the environment by rapid urbanisation. Dash says that subjects of his paintings are derived from his observations and real life experiences. According to him, “each frame portrays a plethora of complexities and a different perspective of development and life. One might get a strange sense of relief as the performance unwinds and the distorted image of the face gains balance. What remain are the marks of the string’s path of punishment and an extremity of detachment and peace in the end. It is a kind of come back for me in my native land.”[1] Pratul Dash is a painter who cares for the environment and his fellow humans, and uses his canvas to voice his cares. Every work of art is might be a window to its maker’s beliefs by aesthetic and political. In the case of Pratul Dash, that window is wide open. You can see Dash’s engagement with social and political issues affecting the country all over the canvases, photographs and videos.

Large scene of open landscapes having (fig.16, fig.17, fig.18, fig.19) geometrical blocks are evocative of the concrete maze the towns have become today; scaffoldings, industry, pipelines that seem to stretch into infinity these are recurring tropes in Dash’s work. He used to signal the paradoxes of urbanisation of small town, of his native towns headlong rush towards Western style development, leading to the depletion of forests and alienation of individuals. According him, “I have nothing against the growth of any small town, but my concern is with the cost of it.”[2]

In the year 1991 a group of young passed students from the same institution were moved to New Delhi for their individual art practice under the guidance of Dinanath Pathy. Jagannath Panda was one of them who moved to New Delhi along with other passed out students. Jagannath Panda was trend as a sculptor at the B.K. College of Art and Craft, Bhubaneswar. Jagannath painted images of the village and the city using naturalistic approach. Some of his works are influenced from the traditional and folk paintings of Odisha, and most of the times, theme of his work is associated with nature, culture, local, global, tradition and contemporary etc.

Jagannath Panda’s one of in painting, (fig.20) house with Osakothi[3], was influence from Osakothi mural painting. The pencil drawings but show naturalistic forms of Osakothi mural painting, such as house, chair, book, egg and boy with the priest. It is not surprising that the contemporary artists are constantly invoking Osakothi pictorial images to represent folk culture through their visual art practice in 21^st century. Some artists in Odisha as well as in India derived their pictorial forms from their regional or folk traditions such as, Jamini Roy who was influenced from his regional art practices Kalighat Pata[4] painting of West Bengal. And at the same time, Panda was also influenced by the Japanese ink drawing. Panda started making such kind of works since he has been in Japan for an artist in residency programme. His exposure to Japanese ink drawing tradition made him to incorporate much technique in his art works as a part of mutual self agreement to being newness in his works.

Post 90s, Odisha has brought some possibilities and a way of aspirations for the youngsters. The art scene around Bhubaneswar began to change among the young generations of artists. This young generation criticized the old generation artists of Odisha for their teaching method and activity, as well as inactiveness to establishments of the art institution that an iota of newness.

Old generation of Odisha artists failed to shed off their attitudinal problems towards their successors. They in the name of so called actuality and perfection do not let the youngsters move ahead and progress. Intentionally they did not try to realise that instead of celebrating changes they remained very conservative in their outlook and performance. They remain arrogant from their tips to toes. They always wanted the young artists to follow them both stylistically and conceptually.  But later, the young artist managed to come over the heads of their old generation artists, and built a sort of corporate sector in the art sphere through their struggle and practices in the contemporary art scenario.

Now many artists of Odisha in Delhi, especially the emerging generation, could be divided into capitalistic divisions like gallery owned artists and the company sponsored artists. Panda’s paintings (fig.21 and fig.22) has based on the same idea. He tried to create a dialogue between local and global. Village house attached with toilet and house with modern technology cloth press iron. He stated that how one object or land is different from another land. He tried to make a comparison between Japan and India (fig.23) in order to place in a one place.

 

Many Odia artists migrated to metro cities especially to New Delhi. During my interaction with Odia artists in New Delhi, I found that there are some artists in New Delhi are against the celebrated painter Jatin Das. They claimed that Jatin Das is not an Odia because his mother tongue is not Odia, and even his works do not show any connection with any Odishan elements, tradition and culture.

Sometimes, Jagannath Panda’s works attempt to make his symbolic language. He rotates his ideas from drawing to sculpture, and painting to sculpture and simultaneously he engages with painting and transforms the objects or forms into symbols. Title ‘goat and god’ (fig.24) he uses the goat as a symbol of cultural practices. For this work, he took references from the ritual practices of road side deity and their ritual festival. Mostly in village road in rural areas of Odisha, we find donation trunk or boxes which are kept in front of village shrine or temple. Panda uses goat as a symbol of god, because in village during some particular festival, goats are sacrificed. According to Jagannath Panda, rural people are in Odisha knew it is a blind faith, but people still following the ritual practices, and never came out of it due to their religious belief.

Birendra Pani is another contemporary artist of Odisha who is living and working in New Delhi. His works maintain a certain engaging on the narratives and he explores various discourses of regional and traditional ideas. He brought his ideas to visual art practice through the history of folk and contemporary in regional and traditional vision. During his practicing period, he never loses touch with living traditions rooted in organic cultural ethos of Odisha.

Pani frequently visits historical places of Odisha. He has captured and represents his experiences of this place through the photographs, paintings and drawings. Gutipua[5] (Boy Dancer) series of paintings which are in the mixed media by combining the genres of printmaking and painting. However, he is trained as printmaker during his bachelor’s degree and master’s degree and he tried to bring the elements of print making in his paintings.  

The artist shares, his approach to art making like a story telling, where the layered treatment in the canvas signifying the different times, and the journey from one memory space to another across time and culture, and revisiting the monumental quality of the past tradition. The significant approach about Pani’s work is his continuous engagement with the notion of history, memory, nostalgia and regional identity of the place in a globalized world.

According to Pani, “my paintings are related to the visual culture and sensibility with history of Odishan miniature painting, patachitra painting, traditional stone sculpture, ancient temples and dance forms of gotipua and Mayurbhanj chhau[6] dance in Odisha. These traditional art and dance forms form have been neglected and abandoned now in Odisha. The present series of work is the refraction of the fantasy of a nostalgic past, a landscape of memory with change in space and time. Cultural memory of past events becomes enmeshed in the reconstructions of past and relating it with knowledge of the contemporary situation by criticism, appropriation, preservation and transformation. The attempt is to create a new phenomenology by revisiting and re-defining the interrelationships between cultural memory, identity and history in a situation of loss of and reinvention of self in a globalize and yet localized world.”[7]

According to Pani, “In this stage of my artistic journey what is important for me to explore new language through innovative engagement in terms of media, method and technology rather than confined to mixed media works only. My intention is to create a personal iconography by negotiating with the contingent spheres of influences in the global-local conundrum and to engage with local in an innovative way.”[8]

Pani finds himself in a peculiar situation as he locates himself as a contemporary artist delving into a particular regional and cultural history and history of Odisha. The region has always tried to assert its separate identity, given that Odisha is squeezed between politically dominant and culturally significant during colonial period.

Living in Delhi, he is well aware that any such dialogue is limited within subjective. Pani’s cultural past, seeking out individuality and different practice, observing his nostalgic self through the past, engaging in the questioning of the self and through this exploration of his work throws up its own possibilities. His thought that his work is rooted only in parochial and limited Odishan cultural practices. He also derives influences from western and Indian painterly history as also miniature paintings. 

These gotipua boys are actually young boys (fig.25, fig.26, fig.27 and fig.28), who dress up as girls and dance outside the Jagananth temple at Puri. This ritual practice is rooted in tradition and praxis of religion and performance where dance is considered an offering to the divinity, and it celebrates, and partakes in the transformative aspect of the divine. The dance is narrative, performative and meditative.

Simultaneously the interplay of the two art forms dance titled ‘boy dancer’ (fig.29, fig.30), and paintings represents a single point of view, but it evolves through different sensibilities. On one hand, the painting seems like to be an intervention of the gaze of cultural anthropologist or depictions of a culture in another area, and on the other, the dance seems like a desire to participate of the dance, dancers and the cultural context they represent.

Since the artist is directly interacting with the gotipua community, the nature of interaction and representation, nature of negotiations with different institutions as well as the institutions from which he is operating, the duration of association in material existence etc. are some of the critical aspects of the approach.

Pani’s attempt is the production of a new language at the interface of   two different art forms i.e. the visual art, and the performance art and emergence of a new discursive field. Goti means single, pua means boy and in gotipua dance, the boys dance in the guise of girls. The There is frequent and direct interaction Pani has with the traditional dancers in their lived realities i.e in  Raghurajpur village, Odisha. 

Pani organized a performance (fig. 31 and fig.32) by the dancers within the gallery space during his solo exhibition (2007) along with his paintings Pani documented some of their photographs (fig.33 and fig.34) of earlier performance, which was displayed in the gallery. In his painting, Pani uses blade as a conceptual, contextual as well as the psychological space with the double agedness, as a site of the conflict and tension as well as hope and aspirations. There is constant personification of the gotipua dancers throughout the exhibition and space for interaction, rather than simply reducing them into signs.

Style specific iconographies and geography specific landscapes interact with the thematic in many of his works. Pani has used iconographic imagery derived from early medieval temple architecture of Odisha. These include not just divine figures and warriors, but also decorative and symbolic sculptural members such as beautiful maiden (the fig.35, fig.36, fig.37 and fig.38). He uses both architecture spaces and sculptures as metaphors for the loss of cultural and social memory by focusing on neglected sculptures, particularly in Odisha. The photographs of abandoned sculptures (fig.39, fig.40 and fig.41), spread out like rubble depict not only a graveyard of sculptures but of history and of memory.  The notion of cultural destruction happened again in his works, be these of classical spaces or of cultural practices.

Sudhanshu Sutar was graduated from B.K. College of Art and Craft, Bhubaneswar. During his study of bachelor’s degree course, Sudhansu started with a quest to travel across Odisha on his bicycle to explore more than what he visualized of life outside his village. In 1994 he shifted to New Delhi for engaging with art activity energetic way and practicing art as a career. His early works are based on his experience of village and outside village. Most of his paintings are influenced from rural areas.

His series of works is representational of his roots from Odisha and the time he spent in Delhi. He made a combination of his rural psychological imagery and his complex survival in the big city reveals some visual images. 

Titled ‘untitled’ (fig.42, fig.43, fig.44, fig.45, fig.46, fig.47, fig.48 and fig.49) has one meaning which making procedure that Sutar spend in his time for making painting and later is to assemble all the images. For all the paintings, he took references from his village which he captures during his visit to Odisha. Frequently, he used to do travel to Odisha to make his paintings. Sudhanshu Sutar describes this enigmatic image of the Odishas with a modern world in which India is taking a very different character.

Nonetheless, life was challenging for the aspiring artist. Sudhanshu undertook a quest to travel across Odisha on his bicycle, exploring what life looked like outside his small village of Kalikapur. Sudhanshu’s series of work is a fusion of rural, psycho-surreal imagery and tropes of survival in the big city that draws both on his Odishan roots and his time in Delhi.

The artist who migrated from Odisha, they relocated themselves in metro towns such as New Delhi, Mumbai and Baroda. They find these destinations more lucrative and liberated. Among such practicing artists, very few artists represent their regional identity, culture and tradition through various medium. Birendra Pani, one of the migrant artists, who did number of works based on his regional identity. Rest of the artists are practicing their art, but do not show any concern to represent their regionalism. They managed to exhibit through the private art galleries and hold good the market system of consumerism. Nevertheless, their efforts are significant to establish themselves as Odishan artist. Many such painters are also questioning Jatin Das as representative of the Odishan artist due to his non-conformist position of Odisha origin. Such dialogue and opinions are an outcome of their personal encounters and experiences with artist itself. Whatever may be the case, it can be said that the young generation are trying to seek their own ways and managed to destroy the canons set forth by the older generation. Their visuality shows a very different concern and is deeply located in their various social positionings.

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