Artist Chandan Bez Baruah draws inspiration from Assamese landscapes
Born in Nagaon, Assam, artist Chandan Bez Baruah has had an inspiring journey among the landscapes of the northeast. it left a profound impact on his artistic and creative skills including his perspective of art through his specialisation in printmaking. an alumni of government art College, assam, and Visva Bharati, Santiniketan, his work has been widely exhibited. as his latest exhibition — Elsewhere in Northeast India curated by Waswo X Waswo is on display at Latitude 28 in Delhi, we speak to the artist about his techniques, influences, and more.
Excerpts:
What themes have you explored in your latest exhibition Elsewhere in Northeast India?
I went through three phases during the conceptualisation of the exhibition. The recollection of my childhood in Delhi was the initial catalyst. The differences I saw as a result of urbanisation when I returned to several locations on different occasions were the second. And the third phase is about the terrain or nature that makes me view things in a unique way.
How does the landscape of Assam inspire you?
When I lost my mother as a child, I was deeply disturbed and depressed. As we shifted to Guwahati, I became lonely. But since the region is surrounded by hills, I often used to go to the jungle and sit there. Urbanisation has made us ignore these landscapes that are known and yet unknown to us.
In the course of time, how has the landscape in your homeland changed?
One of the phases in the exhibition is all about when nature forced me to see things differently. The involvement of humans in nature, planting new useful plants for us, cutting trees for various reasons, construction of new industries are some of the developments. At the same time, there are a few who think differently and protect wildlife and the flora and fauna.
What nuances of progressive experimentation do you bring to your printmaking art with time?
I try to innovate and experiment with the printmaking medium, both traditionally and unconventionally. I began my journey in printmaking early in my career while studying at the Government College of Art and Craft in 1995. Wood is a familiar and comfortable medium to me. I use wood carving skills to create larger, highly finished prints related to the northeast landscape. During the image-making process, I always go through my experiences and this creates a peculiar attachment between the particular frame and me. It’s all about my emotional interpretation and atmospheric transformation on the wooden surface.
For the photo-realistic approach, I use my own imagination and skills along with photographic modern technologies. I enjoy my own involvement with each landscape during curving or cutting the wood along with the ongoing spontaneous activities, which makes it a lot more than the reinterpretation of photographs. I experimented in terms of composition, and technique according to the demand of the subject. Many hidden and visual messages are also sometimes added.
How has your time in Santiniketan influenced you?
I joined Santiniketan for my masters at Kalabhavana’s Printmaking department. Santiniketan, for me, was like a sea where I could explore so much. The place had so many veterans, along with avenues of discussion, and exploration. I met stalwarts like KG Subramanyan, Lalu Prasad Shaw, Sanat Kar, Somnath Hore, Jogen Chowdhury, Suranjan Basu, and others. Most importantly, I loved how Santiniketan taught us to learn amidst nature.
What are you currently working on?
I am planning my next solo exhibition and I am doing lithography in my personal studio Chandan’s Atelier 21 in Guwahati.
On till September 20, 2024
At Latitude 28, New Delhi