The multi-faceted Kolkata based veteran artist has explored visual mediums in as many ways as he could ever since he graduated from the Government College of Art & Craft. From being an observer on the film sets of legendary filmmaker Satyajit Ray, to working in multiple advertising agencies as a visual ideator and photographer, to pursuing his passion for fine art in his leisure time, Asit has explored it all. He has not only contributed to the much revered Sandesh Patrika, when Satyajit Ray was the editor of the magazine, but collaborated with multiple international projects such as his ongoing association with Kids’ Guernica, a project conceived in Japan around 1995 to which he serves as a global ambassador and coordinator in India. His latest venture includes a book that he published with original observations, photographs and sketches that he made in his early twenties while associated with Ray’s notable projects such as Hirak Rajar Deshe, Piku and Ghare Baire. We speak to the veteran artist to know more about his style of art and his book full of Ray curations.
To begin with, what are some of the typical media that you use in your paintings?
I have pursued my higher studies in animation from Japan, and during my time at the land of the rising sun, I came across a medium called Sumi Ink typically used by the Japanese for calligraphy. Since then, Sumi Ink and the type of paper used by the Japanese has become an integral part of my artistic expression. However, I do keep experimenting with various media such as acrylic and pastel to name a few, that come along with its own set of techniques. I usually stick to long phases of working with a typical art medium since it helps me explore ways of experimenting with it and the subjects it can be used on. Watercolour is something I practice every day, especially on floral motifs perceived through my eyes. My usual subjects include erotica, architecture and flowers with slight variations every now and then, and I am working on a series of woman portraits at the moment. Coming to photography, I am inclined towards fine art photography where I look at celluloid as a medium. I have travelled to about 51 countries so far exhibiting my photography and paintings.
Take us through the Kids’ Guernica project that you are associated with
The Kids’ Guernica was first conceived in Japan back in 1995, and has since then opened up to include in about 50-60 countries in an attempt to spread a message of peace. The name of course, has been derived from Pablo Picasso’s Guernica and brings together children from all around the world to paint together their ideas of peace on a canvas size that replicates Picasso’s famous painting. I am associated with the project as an ambassador and a coordinator and Kolkata has already seen an event where visually impaired children from The Blind School, Narendrapur painted a mural under my guidance which is a part of the project’s International Peace Mural initiative. There are about 400 murals that have been created so far by children all around the world, which when brought together extends up to 2.5 kms. An exhibition of these paintings were carried out on the Alps, where viewers had to ski through the mountains to witness these paintings. We have also created a humongous borderless globe as a part of this project that we exhibited at the UN Headquarters at Geneva.
Tell us about your book on Satyajit Ray?
I was only about 20-21 years old when I was introduced to the film sets of Ray as an observer. Ideally an observer is supposed to witness and capture moments from the shooting schedule from the perspective of a learner, but I have never been someone really quiet. I was working under the tutelage of Ray’s cinematographer Soumendu Roy. There were a lot of instances where the sets were built up till late at night even before the day of the final shoot, this is where I took my chances to explore other departments and teams involved. Since I lived nearby the studio para, it was easier for me to stay behind till the wee hours at night. This eventually developed into a fascination where I started capturing moments from the sets of photographs, sketches and in my journal that constitute the crux of this book. It includes separate sections on not just Ray, but his team mates as well accompanied by photographs and sketches that capture unseen moments. The book was released earlier this year in Bengali, and will soon be released in English in order to reach out to a larger mass. I also wish to exhibit my series of photographs and sketches of Ray and his team mates as a respectful remembrance of the maestro.