Orijit Sen's art is a rare confluence where language and visuals coalesce, akin to the union of moonlight and tide. For him, art is as innate as breathing. The palette is that of narratives, where hues of hope blend seamlessly with shades of introspection. Nurtured within a generation where childhood unfolded amidst the vibrant pages of comics, Orijit’s formative years revolved around inked narratives. Devoid of the digital deluge and sporadic movie frills, comics emerged as the sole conduits of storytelling. A blend of text and imagery, the paper-bound tales held sway over his imagination. A young Orijit would delve into low-brow comics, investing his pocket money in the illustrated realms of wonder. But it didn’t stop there; he engaged in the time-honoured tradition of barter with his friends. A copy of The Phantom might find its way into the hands of a friend, only to be traded for the adventures of Mandrake in return. Ahead of his show, Heart-ich Hyderabadi, we catch up with the artist; listening to him speak was learning that his art is not just a visual lexicon but the breath of his creative metamorphosis.
How do you separate traditional Indian art forms and Western graphic design principles in your work?
In a diverse country like ours, nothing can be defined as Indian. A relatively more homogenous culture like the Japanese, reflects that sensibility. India, on the other hand, has been influenced by richness in terms of art — including what we have got from our colonial history. Our connections to the West, say, Europe and America, in terms of influences, are strong but we also have our own. As a kid, I was influenced by writers such as Sukumar Ray and his drawings of children’s stories — particularly because of being born to Bengali-speaking parents. But that does not mean to say that an artist from Kerala or anywhere else was not influenced by him. It is difficult to say what is Indian because it is a mix of inspirations and cultures. Sukumar Ray himself was influenced by Western satires and cartoons. I don’t separate Indian and Western. It is a continuous evolution of ideas that come into our lives.
Your art also features the complex relationship between humans and the animal kingdom — especially companionship. How do you illustrate this dynamic?
The connection is deeply rooted in my personal experiences and interactions. Dogs and cats, cherished members of my life, have woven their pawprints on my heart. My affinity for the wilderness has led me on countless expeditions through forests, immersing myself in the embrace of nature. I’ve revelled in the simple pleasures of nature — the currents of flowing streams to untouched landscapes. I paint my admiration for the non-human facets. This love finds its voice in my creations. Living in Goa, amid a splendid bird sanctuary, I find peace in observing them. I like to portray this intimacy with nature and the animal realm. Each stroke of my brush or pen is an attempt to articulate the connection that resonates within me.
Animals also serve as allegorical figures while bridging the gap between realism and imagination… Indeed. Animals often play a role like characters in stories, helping to connect the real world with our imagination. Across different cultures, animals have symbolised various aspects of life and values, especially values. Think of stories like the Panchatantra or folk tales — they use animals to represent deep metaphors for human life and connections. I’ve been focusing on a book centred around dodos, a bird species that sadly became extinct, marking one of the first instances where we witnessed a species disappear in modern times. People found this idea astonishing. I wrote a story and have been dedicating time to this project. The story revolves around a dodo that becomes aware of its impending extinction. It’s a parallel to our current human society. We’re facing similar threats due to the way we’ve impacted the planet, yet we often seem indifferent. Despite the potential collapse of our environment because of our actions, we continue without much concern for the consequences nature presents.
What role does activism play in your art?
For me, art and activism are intertwined, never truly apart. Activism is about living by your principles and expressing your beliefs. Art, in its essence, is political and mirrors life itself. The convictions that drive me to create art naturally find their place in my work. At times, I consciously wield art as a tool for activism. Take, for instance, the art I’m currently showcasing in Hyderabad. It delves into the city’s fabric — its people, culture, and society. This act of creation is inherently political, woven into the very core of what I portray. Similar to a life filled with experiences, my art tells a story that shows what I believe in. This starts conversations and makes people think, connecting the worlds of art and society.
How do you think the digital age has influenced the consumption and creation of art?
The digital age makes things more accessible. Art, all around is available online for viewing at least. However, it dilutes the level of engagement. We live in an age of information overload and we are unable to process the amount of information we receive. That is where we realise, it is not the quantity of information that impacts you but it is your quality of engagement with it. I think we are losing on that. I create art in a way it demands to be engaged with at a deeper level. My work is dense and I create multiple layers — as you start viewing it, you will realise the things being talked about. That is how I use the digital format — to create work and disseminate it — the idea being that I want to arrest fleeting encounters. I want to make my art offer the time and space it needs to be dealt with. I seek to counter the less attention span of my viewers and make them immersed in what I create.
Can you also talk about your connection with Hyderabad?
I’ve lived here for some years in my teens. I was here for almost six to seven years when I discovered my calling as an artist. It was always in Hyderabad where I made certain important decisions or let some changes happen to me which have influenced the course of my life. Life looked hopeful and exciting. Hyderabad stays connected not just to the memories of it but somehow, to that attitude of wanting to go out and discover that there was a wide world waiting for me. Even if the city has changed a lot, there is this warm spirit I still enjoy. Even in this project where I have documented the old city, I tried to capture the spirit of the city.
So far, what do you consider to be the most fulfilling aspect of being an artist?
Broadly speaking, it is just the sheer joy of creating. It is rejuvenating and I can never feel depressed or inactive for long. In times when I feel defeated by something or stressed, sooner or later, I return to my drawing board and enter a different space. I become that child who was and is into comics. My mind is like a camera. It takes photographs of what I experience — like all of us. For some, they go into the hard drive, and for some, it is a bit tough to be recalled in detail but as a person who has been drawing all his life, art is second nature. Even when I am talking now, I am surrounded by art around me. Tomorrow, if I decide to draw something, these observations that I am making right now about my surroundings, would come to the fore — like how this light is falling on that sculpture, how it is fading out, how the leather of that sofa is shining. To me, these are very rich aspects to live with. Every human being is potentially an artist. It’s just how we live our lives — some things make us lose touch. I was lucky that I could keep making art.
Free entry. On till August 31. 11 am to 7 pm. At Kalakriti Art Gallery, Banjara Hills. — chokita@newindianexpress.com @PaulChokita