Speaking out: Angst of an artist

DUBAI For Indian visual artist Rahul Krishnan, 34, the social and political atrocities that he has witnessed in his home country, India, have impacted him so much he had to find a way to deal with them. Two years ago he took the bold step to express his discontent through art.

“My work is my way of reacting to atrocities I notice around me. I am not trying to change the world, but it is my personal rebellion against corruption and abuse of power by leaders,” says Rahul Krishnan.

That is a strong statement. But do his works live up to it? A look around the Mojo Gallery which is exhibiting Krishnan’s works under the title E&OE (Errors & Omissions Excepted) – and it’s not difficult to sense his angst.

Cosmic Debris Recyclable, an acrylic painting on a 42x54 inch canvas, is about a missing boy listed in India’s police directory. “This is the real face of a boy who is listed as missing in India. What I am trying to convey is the atrocity suffered by children in India, children who are kidnapped and forgotten,” says Krishnan. “There are so many ‘missing’ faces in the police directory. What happens to them? Does anyone care? What is the law doing to find these missing children? The painting also shows the stress and abuse that the boy could be going through,” he adds.

Another work, Indian Indian, is an archival print on paper on a 10.5x9.5 inch canvas. “I got the title from a Jim Morrison song. The message here is that people should not fight over religion.”

Then there is Persistence of Forgetfulness, an acrylic work on a 42x54 inch canvas, which he says was inspired by Salvador Dali’s 1931 painting The Persistence of Memory. “The basic concept here is again to convey how people in power abuse their role.”

One on his works is named after a famous line from a 70’s Bollywood blockbuster Sholay: Kitne Aadmi They (How many men were there?). “Normally people looking at this piece think I am questioning how many people are standing here. But really it is about the news channels today which are only about chasing numbers. If there is a catastrophe or an incident, it is all about the numbers. Tomorrow everything is forgotten. So what I am trying to highlight is the importance of drawing the line between real bloodshed and dramatised violence.”

Going around the gallery it is evident he does not fear experimenting with mediums. Instead of confining himself to a ‘one style’ approach he experiments with a variety of techniques and materials to create his pieces.

He uses several mediums such as the fibreboard, archival print, enamel on fibreboard, coins etc to express his ideas. “It is a challenge to adopt different materials, especially in contemporary installations while also keeping pace with all the digital evolution.”

Krishnan’s works subscribe to the philosophy of questioning everything around him. His style is big, bright and very direct and challenges the viewer to go beyond clichés and drop preconceived notions about the world.

Prices of Krishnan’s works range from Dh5,000 to Dh18,000 and will remain on display until December 28.