Amitabh Sengupta’s new exhibition Shared Echoes on view in Bengaluru

Amitabh Sengupta’s works have always transcended divisions. This time, the acclaimed artist has brought two very opposite elements of the human civilisation into one exhibition, which is currently on view in Bengaluru. Shared Echoes delves primarily into two of Amitabh Sengupta’s most significant bodies of work — Inscriptions and the Forest Series. His Inscription series depicts script not just as a system of writing but in a metaphorical form — an abstract expression of human creativity and cultural memory. On the other hand, the Forest Series — created purely for himself — reflects a personal sense of wonder and artistic freedom, allowing his visual language to expand into moments of profound peace and isolation. We attempt to decode the creative process behind the series in a conversation with Amitabh. Excerpts:

Shared Echoes traces an emotional and intellectual arc from the inscriptions of culture to the awe of nature. Can you tell us about the connection or dialogue you perceive between these two seemingly distinct bodies of work, and how they both contribute to your search for meaning?

Diversity is a core aspect of my painting. It comes from my living in various environments, like countries and cultures, and travelling in India. These are experiential moments. They are interlinked with my themes and creating stylistic variations as well.

Your Forest series was created purely for yourself. How does the experience of creating this more personal body of work differ from the conceptual development of your Inscription series, and what does this freedom allow you to explore in your visual language?

Artists typically create out of an inner desire to express their emotions. Art, primarily, is a personal form of expression (unless a commissioned work); therefore, my work reflects my inner environment and needs. Again, no art is complete without an audience, although the concept of an audience can be rather vague for an artist. While painting, I do not keep the audience in mind.

Inscription portrays script as more than just a writing system. Could you elaborate on the specific inspirations or insights that led you to this unique interpretation of script?

Script is the foundational graphic form of art that early humans created. These early expressions were derived from nature, human needs, as seen in ancient rock paintings. With script and language, human expression extended across time and space. This exploration of history and the ancient scripts inspired me to engage in a symbolic and abstract approach to painting, rather than focusing on a writing system or readability of script-like forms.

Can you take us through your choice of mediums and techniques used in these artworks?

Most of my naturalistic paintings involve a systematic process of applying colours and tones, either in oils or acrylics, as seen in my Mythscapes series. However, with Inscriptions, each stage is an exploration with dripping colours and layers of paint until finding a surface with colours and lines. This has no pre-determined approach. The scripts are both form and texture, making acrylic or any fluid medium suitable for this process.

What factors did you keep in mind before deciding the colour palette?

In my naturalistic approach, colours typically emerge with the thematic environment needed. In contrast, my abstract works see colours evolving as the surface takes shape. There is an element of surprise, even for me.

Can you name three artists who have influenced your style the most?

Nirod Mazumdar, Panikkar and the folk artists of Bengal.

What can we expect from you next?

Unpredictability.

Entry free. On till May 18, 11 am–7 pm. At Gallery Time and Space, Lavelle Road