Anutosh, artist, painter
Seeing a couple of Anutosh's recent paintings inspired me to ask myself a question: how would they work together in a space where
except for these no other art was to be seen? And if all the works would be placed horizontally, close together and in line?
The example that came to mind to help my imagination was of course the room in the orangerie at the Louvre in Paris, where Monets water lilies are the only works on display.
This is a world of apparent sensory perception water lilies, water, light contrary to what Anutosh's paintings evoke. But in his case it would be a world as well, a unity that
would surround the viewer in all its various manifestations.
surfaces within themselves
To be perfectly clear: we only get to see a glimpse of this unity in each painting. However large these canvasses are,
the world they bring into our line of sight always exceeds the limits of the painting. A section, a fragment or a scrap
is all that can be captured within the margins as is shown by the many shapes that are cut off by the edge of the painting.
Yet at the same time, these very cut off shapes evoke a certain limitlessness, as a fragment of cloudy sky does when it is
blocked out by a window frame. This evocation is supported by the depth of the layers in the image.
That which is happening within our view is indeed situated in a world where forms can move freely,
like fish in the undivided expanse of the sea. Sometimes these forms are very sculptured and can therefore exist only in a three-dimensional space,
or it turns out that they are able to contain a whole architecture of colourful surfaces within themselves. So even the eye of the viewer can go on a journey there,
lured on through and along the prospects of a landscape where he has never been before.