Witness a journey through Akkitham Narayanan’s art at this exhibition

Abstract art has long been a gateway to exploring the intangible—where form, colour, and space transcend physical reality to communicate deeper meanings. Geometric abstraction, in particular, embodies a synthesis of logic and lyricism, where precise mathematical structures transform into deeply personal artistic expressions. Akkitham Narayanan, a master of this genre, has spent over six decades developing a visual language that seamlessly fuses Indian spiritual traditions with modernist European influences. His upcoming exhibition, A Thousand Universes, curated by Uma Nair, offers audiences an immersive experience into his artistic journey.

The exhibition’s evocative title, A Thousand Universes, Uma says is inspired by a poem written by Narayanan’s elder brother, Akkitham Achuthan Namboothiri, a celebrated poet and recipient of the prestigious Jnanpith Award in 2019. The title reflects the infinite possibilities and layered dimensions present in Akkitham’s work.

“His art is not merely a scholarly pursuit; it is an introspective journey that bridges the disciplines of literature, philosophy, and fine art,” says Uma. Just as poetry crafts meaning through the rhythmic arrangement of words, Akkitham’s paintings construct meaning through the meticulous arrangement of geometric forms.

Akkitham’s oeuvre is characterised by a deep engagement with geometric forms—particularly the triangle, which serves as the foundation of his compositions. His ability to manipulate this fundamental shape into complex arrangements demonstrates his mastery over both form and meaning. The triangle, in his work, is not just a mathematical entity but a symbol of antiquity, sacred geometry, and balance. It is often accompanied by other structural elements such as parallel lines, rectangles, and rhombuses, creating a dynamic interplay of movement and stillness.

Talking about the exhibit, Uma explains, “The exhibition traces Akkitham’s evolution as an artist, beginning with works from the early 1970s and progressing through his later canvases. His use of colour is particularly striking—earthy, organic tones dominate his palette, evoking the natural world and aligning with the thematic significance of Earth Month in April. The hues recall the sacred pigments of Indian temple murals while maintaining the modernist abstraction associated with European masters like Mark Rothko and Wassily Kandinsky.”

While Akkitham resides in Paris, his works remain deeply rooted in his Indian heritage. His colour choices, symbolic forms, and structural compositions all reflect an inherent Indianness, reinforcing his identity even as he engages with international artistic dialogues.

One of the most intriguing aspects of Akkitham’s work is his use of script-like scribbles, which he describes as a homage to language and poetry. These markings, interwoven with geometric forms, add a layer of mystique to his canvases, inviting viewers to decipher their meanings. His paintings echo the rhythms of classical music, much like the delicate interplay of light and shadow in a raga performed by M S Subbulakshmi. Uma likens Narayanan’s watercolours to whispered musical notes—light, ephemeral, and deeply evocative.

Uma further emphasises that abstraction is not merely an aesthetic choice but a discipline that demands unwavering commitment. “To create abstract art for over 60 years is no easy feat. It is a practice born from deep contemplation, requiring the artist to immerse themselves fully in their chosen form of expression.” Akkitham’s works embody this philosophy, where every line, colour, and composition is a product of sustained introspection and artistic rigour.

In an age dominated by digital media and rapid consumption, one might wonder about the relevance of abstract art. Yet, as Uma asserts, abstraction remains eternally significant. “An abstract artist does not create for a specific moment in time; their work is meant to be contemplated across generations.” The universality of Akkitham’s art ensures its continued relevance, offering viewers a space for personal reflection and interpretation.

Curating an exhibition of abstraction is no simple task. Unlike figurative or narrative art, abstract works resist thematic categorisation. Instead of imposing an external structure, Uma chose to present Akkitham’s works in a way that allows viewers to experience the organic evolution of his style. The exhibition brings together significant pieces from different periods, including some deeply personal works.

Open to all.

April 1 to 15, 11 am – 7 pm. At Lalit Kala Akademi, Thousand Lights.

April 16 to May 10, 10.30 am – 06.30pm. At Artworld, Teynampet.

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