Accidental artist

Different strokes

I had no particular intention of becoming an artist,” reveals veteran artist Madhvi Parekh.  “I was solely prompted by the idea that if I was engaged in some creative activity during my pregnancy, it would benefit the child I was carrying in some way.”

Today, this National award-winning artist with no formal training in art has had nearly a 100 solo/group shows in India and outside to her credit. Critics have observed how her art is characterised by a distinctive style of energetic lines, vibrant colours, lively forms, and soulful themes; and how it has evolved by absorbing in equal measure aspects of traditional folk art and works of modern masters such as Paul Klee and Joan Miró.

Madhvi’s artistic journey is the subject of the coffee-table book A World of Memories (2010/Penguin), which includes a selection of 70 paintings in various mediums that she has worked in. “The art of Madhvi Parekh seems to hover independently between genres, styles and cultural constructs,” writes gallerist and art promoter Peter Nagy in his introduction. “She may not be consciously making an art of socio-political statements but through her work she occupies a valuable position with the dialectics of society and its politics.”

The beginnings

Born in 1942 in Sanjaya village, Gujarat, Madhvi was in her early 20s when her artist-husband Manu Parekh gave her a Paul Klee exercise book, which triggered her interest in art. Starting off by making simple triangles and squares with pen and ink, she had, before long, taken up drawing animals and human forms.

As she matured, her work drew extensively from childhood memories. “My paintings are based on memory, stories I had heard as a child, as well as my immediate surroundings. I spent my childhood in a small village where we used to celebrate many festivals... As a child in rural Gujarat, I have seen the most brilliant lights of nature. The setting sun (for instance) seemed to set the whole world around on fire, and swamp it in a shimmering golden light. Such colours became an integral part of me, and they come out quite naturally in my work as well.”

Instead of a straight-forward representation, Madhvi’s paintings intertwine her personal memories with elements of fantasy and surrealistic symbols. “I never pre-plan my work,” she says about her art-making process. “I paint what comes naturally to me. The dotted lines in my paintings are like the running embroidery stitches which I used to do as a child. The vibrancy of the many things that surround me is the source of all my works. They represent different aspects of life as I see and experience. So, every work of mine tries to tell a story.”

Labels don’t matter

Madhvi’s work is often bracketed with ‘child art’ or ‘folk art’, but the artist is undistracted by such labels. “I have an instinctive feel for design,” she says. “I have grown up with decorative floor designs, wall decorations and embroidery. All these forms and colours seep through my work naturally. I am expressing what I am, a woman from India. So whether one calls it folk or not does not really matter.”

Madhvi regards her husband to be her guru. An alumnus of the Sir J J School of Arts, Manu Parekh not only provided support and encouragement, but also the initial training and mentoring to Madhvi. “Even today, I only do my paintings. He takes care of everything else, whether it’s framing, packing, transport or display.”

Incidentally, Manu Parekh had a long-term association with the Weavers’ Service Centre (under the ministry of textiles), which saw him posted in several cities including Mumbai and Kolkata. Madhvi acknowledges that the experience of living in different cities and witnessing their unique traditions and culture helped her evolve in her art. “When we were in Mumbai, we used to go to Marine Drive regularly and also visit Jehangir and other art galleries, which was great education,” recalls Madhvi. “The city of Kolkata nourished my art immensely. My first solo exhibition was held there way back in 1968. Financially it was a testing time for us, but our pleasures were simple. Kolkata also brought me close to the fascinating imagery of Durga. No wonder it features prominently in my work.”

As they got established as important artists, Manu and Madhvi were able to travel widely and visit some of the best cultural and artistic centres of the world. “Travelling has been a huge source of inspiration,” says Madhvi. “My journeys through vast open spaces surrounded by mountains in Bhutan changed my colour palette. The experience of visiting some iconic churches and museums in Moscow and Jerusalem inspired me to develop a life-long passion for the figure of Christ. The Holocaust museum and memorial in Israel was quite disturbing and left a deep impression on me. Later, when I took a break at a nearby church, the feeling was totally different, filling me with a sense of peace and calm.”

In recent years, Madhvi has worked extensively on acrylic sheets using the reverse painting technique. “The reverse process is difficult to work with, particularly controlling lines on the slippery surface. I had to work hard in the beginning, but now I enjoy the medium immensely.” In 2011, she employed the technique to create a large work based on Leonardo da Vinci’s The Last Supper; the monumental piece comprised 5 painted panels, each measuring 6 feet by 4 feet.

Art lovers of Bengaluru should not miss the opportunity of viewing Madhvi Parekh’s exhibition, The Last Supper, which is currently on at the National Gallery of Modern Art.
On display is a series of reverse paintings on acrylic panels rendered by the artist in her typical style and gusto, on the life of Christ. The centrepiece of the exhibit is the magnificent The Last supper, installed in a separate room for exclusive viewing. The show concludes on June 26.