Back in time: Kolkata-based visual artist Soumyadeep Roy on blending passion with craft!
‘ Jab Chod Chale Lucknow Nagri, Kahe Haal Ke Hum Pe Kya guzri’ – Shatranj Ke Khiladi
Actor Amjad Khan in the role of Nawab Wajid Ali Shah, the last ruler of Awadh said these lines in Satyajit Ray’s iconic movie while leaving his beloved kingdom. A turn of fate brought him to Calcutta where he found himself living the rest of his days confined at Garden Reach or Metiabruz, where he rebuilt a mini Awadh. After almost 160 years later, Kolkata-based visual artist Soumyadeep Roy resurrects the Nawab and his kingdom which forms an important part of Bengal’s heritage through his artistic practice. Sitting at the Sibtainabad Imambara, The King's final resting place, we indulge in a chat with Soumyadeep.
Excerpts:
How did Wajid Ali Shah become your creative muse?
The journey started from 2017 when I was working on how different communities came and built the city. Metiabruz became the best example because it’s a very conscious re-creation of another city. Initially my ideas were to work with the people who migrated with the Nawab. But once I started the research his influence became very obvious, and made him my subject. I found his personality as an able ruler and a prolific artiste very fascinating.
Where did you start?
It’s impossible to recreate the socio-political and geographical map that existed then, in 2024. I tried to focus on the accounts of the people and read the writings of Abdul Halim Sharar, Wajid Ali Shah’s Ishqnama among others. I also interacted with families that continued to live on in the neighbourhood. I was close to Dr Ramesh Kumar Saini who was a homeopath, ran a paan shop and was the fifth generation descendant of Motilal, the Shaahi paanwala to the royal family.His ancestors could be traced back to the court. There exists a duality about ‘what is home’ since they see both Calcutta and Lucknow as their homes. I try to avoid colonial narratives. Art and music has also informed my practice.
You were the only artist to have an exhibition, Dastaan-e-Akhtar, here on his bi-centenary?
That was an honour thanks to the descendents – Manzilat Fatima, Dr Talat Fatima, Kamran Meerza. Everyone at the Imambara came forward to help as a team which makes you recollect of the plays the Nawab used to put together. Also, I would prefer this place for an exhibition because it’s contextually relevant and opens art to all.
How is your work received by the descendants of the Nawab?
The bond has become stronger. Together we have had events which helped us gauge how the Nawab is popularly perceived, since there are lots of misconceptions floating about him. Dr Talat Fatima mentioned once how maybe the soul of the Nawab continues in me which was the greatest compliment I could receive.
What makes the medium of visual art stand out?
I work with paintings, installations, drawings, videos but art cannot be isolated. In Patachitra you have music that goes along. Also, I was trained in Drupad, Bishnupur Gharana under Pandit Bhavani Shankar Mazumdar which makes me see drawing as a Riyaaz. My education in Literature and Films also converge in the practice.
What’s your creative process?
I have a drawing pad which I carry everywhere even during my extensive travels. The hand and the mind have become indistinct for me. Earlier I used to study and recreate but now the lines are blurring and it comes naturally to me. Sometimes I keep archives of visuals in my memories that I revisit later.
How is the Nawab perceived in Lucknow and Kolkata?
It’s completely different in both cities. While he was the last King of Awadh; in Calcutta, he was the first major king to have stayed for three decades. Perceptions also differ when you directly read from his writings as opposed to secondary sources.
What is your creative take away?
It gives you a sense of introspection as to how you see life. It inspires me to look into my own art.
If you meet the Nawab, what would you tell him?
We would probably listen to music, look at paintings and share our opinions. I would be interested to see how the Nawab would perceive cinema, given that his influences are found in modern day cinema too.
How do you preserve Kolkata’s heritage through your art?
When you are passionate about heritage, you are anxious about all that’s going away. Archives can only do so much but stories and art live on. I feel privileged to make art in tribute to history- standing in the present, connecting past and future.
Tell us about your just inaugurated exhibition.
It’s an exhibition on my family history tracing it to 25 generations, titled ‘Everybody Has Moved’ or Bippojonok Bari.