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KALIDAS KARMAKAR

In Quest of the Ultimate

ByFayza Haq
alidas Karmakar who stirred up the Bangla deshi art world with hta fiery imagination in the National Exhibition of 1975 and 76 has today, tn the 90s taken the Chinese and Japanese art enthusiasts by storm. Kalidas's 132 pieces at the International Exhibition Hall at Beijing and Gallery Nagar at Tokyo cried out boldly for attention and admiration
Always restless and flamboyant Kalidas In hla "Holy Symbols' had created mystifying images with materials like mud. wood, metal, cloth and fibre These appeared like overwhelming trophies to cel ebrate the Innate struggle of mankind Hopes, anguish and poignancy were blended with pulsating impetus to strive and survive .
"When trekking past primitive villages in the Himalayas during my holiday. I confronted the simple country style worship of the local gods This was with sticks and stones and a few grains of coloured cereals. This I've converted into symbolic images and brought into my work." the artist explained .
As Patricia Godsell had once commented "Kalidas paints from the heart rather than from the head." Ills series of water colours, mixed media, collages, sertgraphs and pen and ink graphics have one dominating factor: the supreme confidence of the use of the line, which pulsate with vigour and rhythm of their own. These animated lines seek answers and are sensitive to time and space.
The artist's works spill over with symbols, such as the eye in his recent and past expositions. In them he draws tn nostalgia, mystery, and local traditions, with his inimitable style that is remarkable for its eye for details.
None of Kalidas's creations that have recently travelled to China. Japan. Los Angeles. Milan and Rome over the last five years, were created with the Initial intentions of pleasing the eye. These days for an artist to paint beautiful things are over. 1 find It difficult to look at the moon and the sky and present them as conventional concepts of beauty."
After his sojourn in South East Asia, which includes Korea. Kalidas is now bound for a "walkabout" in the principal cities of Australia—Canberra. Sydney and Melbourne—taking with him his slides of folk art as seen on the back of Dhaka rickshaw's.
"Some people like having vll las in the Rtviera or penthouses in New York. My ambition is to travel and see the world, the painter confides.
Talking about Bangladeshi paintings Kalidas commented The theatre and contemporary art tn Bangladesh deserve accolades. The artists have been inspired by the language Movement and the Liberation of '71 Thcv have swept aside the cobweb ridden British India hangups. But one cannot say the same for artists tn neighbouring India who delve repeatedly into folklore for inspiration at all times."
Speaking about the prospects of the younger generation the artist believed The young artists have more scope to express their talent than did the painters of the earlier generation. Their approach to their subject Is naturally more modern". Kalidas lamented the fact that there were not many places to exhibit tn Bangladesh Just as there were not enough theatre stages. For a country that Is known for its culture It is a shame, he comments. that there is no na tional gallery. 'Galleries and theatres.' he pointed out. 'are vital for establishing the national identity. Why must con tlnue to depend on the benevolence of the Alliance Francalse or the British Council?"
Touching on the subject of the scarcity of art materials in hi* tirade on the existing Mate of affair*.' The privileged and weil-to -do can apend lakh* of Taka on the ownership of lux ury items like car*. Why cannot a fraction of thi* squandered finances and abundance of C rebasing power be spared
rials for needy artists? Tax free paint* could well be introduced by the government to deserving artists In their policy to inculcate a better scan dard of art. the true symbol of our life and living.'
Discussing contemporary art in Western Europe the artist remarked. "Just because contemporary western art has been popularised this does not mean that Europe and USA have artist of finer quality We fall to muster up adequate promotion The west can boast of Industrialization and mate rials progress. But we too have art and culture such as that of Malnamati that harks back to many centuries."
Kalidas believe* that the reason why Sattajlt Rat and Mrinel Sen have won acclaim abroad Is not only due to their integral ability and unquestioned genlous but because they have been fortunate enough to acquire International publicity. /
Dwelling on the prerequisites that go into the making of a good artist Kalidas remarked. "For creation you don't need a degree. The great artists of the past did not nec-esaarlly go to the famous art schools, although undoubtedly they must have sat at the feet of famed artists in turn. Just as Cling a Ph.D. tn literature
s not make you a poet or a dramatist so a degree in Fine Arts can only ensure you a safejob of a sort but Mt tie ctee '
Born In Faridpur in 1946 Kalidas has gone a king way to study the paintings of the white settlers Down under and the magic of the mysterious paintings of dots and dashes of the Aborigines.