The new art exhibition at MAP Bengaluru juxtaposes works of two artists

What lies within a piece o f wood? A question that serves as the focal point of MAP’s (Museum of Art and Photography) latest exhibition — Painting with Fire: Jeram Patel & Tarik Currimbhoy. The show is a fascinating study of two artists, both wielding the blowtorch as their tool of choice, yet manifesting remarkably distinct outcomes in their work with wood.

Exploring the inner life of wood as revealed by the fiery touch of Jeram Patel, a modernist visionary and Tarik Currimbhoy, a trained architect with a deep respect for the material — each approaching the question from unique perspectives. Kuzhali Jaganathan, co-curator of the exhibit, explains the rationale behind bringing these two artists together. “The exhibition delves into their differing approaches, despite their shared technique of using a blowtorch on wood. Jeram Patel referred to his technique of scorching as an ‘attack’ on the material — destroying as a means of making art. Tarik Currimbhoy, while also employing this method of firing wood, does so with a different intent. By torching, he reveals the growth of the wood through its grains, creating a painting in its purest form.”

Jeram’s fascination with black, whether achieved through scorching wood or applying black ink, is palpable in his works. To him, black wasn’t just a colour; it was a way to amplify the strength of other hues. His process, which he began after a visit to Japan in the 1960s, evolved into a profound method of engaging with his materials, aligning with his broader philosophy of destruction as a means of creation. “Jeram’s work is often considered pioneering in India for its use of a blowtorch on wood. Through this practice, he was able to interfere and interrupt the material with his thoughts, relating it to his larger philosophy of destroying a material to make sense of this world, including forgetting certain experiences,” notes Arnika Ahldag, co-curator.

In contrast, Tarik’s works are informed by his architectural background. His process is delicate and contemplative, playing with the grains of ash wood to reveal their inherent beauty. “Shou Sugi Ban is the beginning of the process — the language of burning wood. However, mine are the ‘words’ where I play with the pores and contours of the wood, making them come alive,” Tarik elucidates. He contrasts his work with that of Jeram, pointing out that ash wood, with its tighter, stronger grain, allows precision and definition that differs from using plywood.

The physicality of their techniques is striking, with the act of burning serving as more than just a means to an end. “The act of burning is a painterly conversation. I burn a little then let the wood speak to me — then I respond to it. The conversation is intense as I have only one chance. Once burnt, there is no going back,” Tarik reveals. This intense interaction with the medium creates a profound emotional and psychological impact, inviting viewers to engage with the works on a deeper level. The manipulation of wood grains in Tarik’s pieces contributes to their spatial and tactile qualities, creating a dynamic interplay of form and function. “Note these valleys and hills cannot be achieved in plywood, which is what Jeram Patel uses, mine is specific to the language of wood,” he adds.

Meanwhile, Jeram Patel’s use of the blowtorch creates an uneven texture in his works, where the original colour of the plywood peeks through the charred surface, adding layers of meaning to the destruction and transformation of the material. Kuzhali and Arnika observe that perhaps this focus on naturally occurring materials, heightened by the act of scorching, is a way to bring attention to the often-overlooked significance of these elements.

Painting with Fire is an exhibition where one can experience a theatrical play of colour and for m that challenges preconceived notions of what art can be. Through the works of Jeram Patel and Tarik Currimbhoy, the exhibition sparks a dialogue not just with the materials, but with the very essence of creation itself.

Entry free. Till November 17. At Kasturba Road.