Credit: Special arrangement
A recent exhibition in Delhi followed the trajectory of two artists, Rajendra Dhawan (1936-2012) and Pandit Khairnar (1968-). ‘Anunada’, a Sanskrit term meaning consequent sound, aptly described the show presenting two artists separated by decades, but their language of abstraction echoes a similar tone. The exhibition of two different generations of non-representational artists was curated by Threshold Art Gallery’s founder Tunty Chauhan.
“In the crucible of my imagination, an exhibition has long been brewing, a union of two artists whose distinct lexicons converge in a symphony of profound expression. It is interesting to note that rather than just arriving at an artistic language, their philosophy of being finds an expression in their paintings,” said Chauhan.
Dhawan’s brush dances upon the canvas, creating abstract forms in fields of vibrant hues. An artist who commands immense respect within the art community, his non-representational creations evoke a sense of spirituality and eternity. As he interprets images and meanings in his fluid and spontaneous style, he employs a limited colour palette – primarily shades of blue, brown, grey, red and ochre – and refrains from titling his works. On the other hand, Pandit’s palette is a kaleidoscope of colours. He starts the process of his work early in the morning and stops when evening falls.
“These creators, Dhawan and Pandit, do not merely stumble upon an artistic dialect; rather, their canvases become a manifestation of their existential philosophies. Like a magician peeling away layers, Dhawan abstracts his creations, reducing them to a deliberate minimalism that guides the viewer through landscapes stripped of visible distractions, a journey into the essence of suggestion. Pandit’s work sparks a deep response, transporting the audience into a realm beyond mere retinal perception,” added Chauhan.
A striking similarity between the two artists is that both leave their works untitled, allowing viewers to create their own impressions. Further, the abstract canvas of both manifests in colour-field paintings, which are sans any representations. Moreover, their connection goes back many years. As a student of art in Mumbai around 1992-93, Pandit had the privilege of attending a few of Dhawan’s shows, which left him quite mesmerised. Later when he began his practice, he got a chance to hold an exhibition with Dhawan in 2001 in Mumbai, which was also curated by Chauhan. “My feelings about working with him during that time and today are the same. Though, sadly, he is not with us anymore, his works are there to tell the story. I think I am blessed to have my works next to his,” he commented.
For the exhibition, Chauhan picked Pandit’s early works to lend a rhythm to the works by both artists. His inspiration for them was nature, particularly the air, sunlight and darkness. Pandit was fascinated by the fleeting moments between twilight and dusk when the natural light changes in a few seconds, and the open sky is a hue of myriad colours, intangible and mystic. “There are various frequencies of light – in the morning, afternoon, evening, close to midnight – this creates further inspiration. As certain moments like air or sunlight can only be felt and not seen, my works are meant to be felt by the viewer. Therefore, you won’t find any figures or any form of distortions in the canvas,” he explained.