Enter sandman

Science recognises that sand can store memories, while life sees it as creative enough for things to thrive upon. These qualities draw artists like Pallichal Rajamohanan to choose sand as a canvas, shaping ideas that spring from their imagination.

Rajamohanan, a senior clerk at the Karumkulam grama panchayat in Thiruvananthapuram, dives into this unique medium, creating captivating sand portraits that have won him several accolades, including the Bharatan Smaraka Award.

To bring life to sand, Rajamohanan infuses his energy into every grain, handling each step with care. The sand is meticulously collected, washed, dried, and stored as though it were a cherished companion. “Each portrait takes immense effort,” he explains.

“The process begins with sketching on cardboard, then applying glue, over which sand is sprinkled. When the sand adheres, I go through various stages until the portrait is complete. A single piece can take anywhere from six months to a year.”

The sand he uses comes from a wide range of shorelines, each with its unique qualities that lend themselves to his art. From the shimmery silver grains of Lakshadweep to the fiery orange of Shankhumukham, each type conveys a specific mood or story.

“Lakshadweep sand has a silver hue, Dhanushkodi’s is bold with a distinct glaze, Shankhmukham’s is fiery, and Kanyakumari’s has a soft brown tint with a quiet maturity,” Rajamohanan says.

Other types, such as Azhikkal’s casual black or Alappuzha’s small white grains, add depth, innocence, or even intensity to his work. “The red sand from Thoothukudi, for instance, is perfect for depicting sensitive, intense emotions,” he notes.

Some pieces have taken even longer. “The most challenging portrait was of Mecca, which took me four years,” he says.

“I used sand from Lakshadweep and Shankhumukham, and applied three layers, as people in the portrait needed careful representation. It was an arduous process, and I almost abandoned it a few times.” But the result, he believes, is one of his best works.

Currently, Rajamohanan is working on a portrait of children playing on a beach. “However, on a closer look, you will see the children are actually hanging from a tree. It’s like an optical illusion,” he says.

Besides this, he is also working on a mural. “It’s quite a stressful piece,” he smiles.

Rajamohanan, who has held over 50 exhibitions, is on the lookout for rare sands to expand his work. “I would love to have the green sand found in Iceland,” he says.

As one of the few artists in the region exploring this artform, Rajamohanan says he would be more than happy to mentor aspiring artists. “I want to be an inspiration for those who want to follow suit, sharing my passion and skills with future generations. In this way, I feel I can empower upcoming artists to nurture their talents,” he smiles.

Rajamohanan’s interest in sand art dates back to his school days when he attended drawing classes under his guru, Nemom Krishnan. “Watching him create beautiful portraits with sand sparked my interest. I eventually focused on my studies, but I never stopped drawing. Inspired by Krishnan sir, I began collecting sand and making artworks,” he recalls.

His first portrait was a watermelon split into two halves, and from there, his journey continued.

Over the years, he has experimented with his portraits, often aiming for unique expressions. One example is his portrait of former prime minister Indira Gandhi, where he captures two different sides of her — one serious and the other joyful.

Another powerful piece depicts the effects of substance abuse: one side shows a man consuming alcohol and smoking, while the other side shows his grieving mother. “That exposes the grim side of drug abuse,” he says.

Among his 130-odd works, one portrait holds a special place in his heart — that of his friend Captain Jerry Premraj, who was martyred in the Kargil War.

Rajamohanan wanted to create a piece using sand from where Captain Jerry had served. With help of a friend in the Army, he procured sand from Dras in Kargil, and from Meerut, where the officer was first stationed.

“I mixed it with sands of Shankhumukham and Azhikkal to reflect the fiery aspects of his last days and the starkness of what remained after. The work, which was appreciated by the Army as well, took me a year to complete.”

Some pieces have taken even longer. “The most challenging portrait was of Mecca, which took me four years,” he says.

“I used sand from Lakshadweep and Shankhumukham, and applied three layers, as people in the portrait needed careful representation. It was an arduous process, and I almost abandoned it a few times.” But the result, he believes, is one of his best works.

Currently, Rajamohanan is working on a portrait of children playing on a beach. “However, on a closer look, you will see the children are actually hanging from a tree. It’s like an optical illusion,” he says.

Besides this, he is also working on a mural. “It’s quite a stressful piece,” he smiles.

Rajamohanan, who has held over 50 exhibitions, is on the lookout for rare sands to expand his work. “I would love to have the green sand found in Iceland,” he says.

As one of the few artists in the region exploring this artform, Rajamohanan says he would be more than happy to mentor aspiring artists. “I want to be an inspiration for those who want to follow suit, sharing my passion and skills with future generations. In this way, I feel I can empower upcoming artists to nurture their talents,” he smiles.

(Written by Kesav Gopan)