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KM Madhusudhanan’s works don’t accomplish for hasty viewing. You charge to apathetic down, and acquiesce the artwork to acknowledge its capacity to you. For instance, back one angle Hunters in the Desert from afar, the ample goatskin seems affiliated to a sacrificial element, tethered to the bank by threads. On dispatch closer, you see a perforated account of Portuguese charlatan Vasco da Gama lit up with LED lights. The assignment acts as a pensieve of sorts, alms a glimpse of Madhusudhanan’s adolescence memories, of his appointment with the art of Tholpavakoothu (shadow puppetry) in Kerala. He has acclimatized the address to actualize perforated goatskin canvases, which he again articulates with charcoal and ink. Experiments and concepts such as these accept kept him active over the accomplished two years, consistent in a new anatomy of works, alignment from oil paintings and sculptures to ink-and-charcoal drawings. One saw a glimpse of these at his contempo solo, Granite, Lamp & Mirror, at the Vadehra Art Gallery, Delhi.

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As he readies newer works in his flat in Muringoor, Kerala, including a few for the India Art Fair, Madhusudhanan continues to appoint with age-old traditions and avant-garde notions of cultural identity. “I acclimate techniques of Tholpavakoothu to portray a abreast message. While the acceptable artists usually characterize belief from the Ramayana, and use colour pigments, I use charcoal. They put an oil lamp in a attic to actualize shadows; I use LED bulbs,” he says. One could see this admirable adjustment in three of his works, featuring the administrative acme of the British, the address that brought Vasco da Gama to India, and of course, the account of the bluejacket himself.

It is this aggregate of the claimed and the political that forms the cornerstone of Madhusudhanan’s oeuvre. In the accomplished two years, he has additionally affianced with socio-religious advocate and philosopher, Sri Narayana Guru’s text, Atmopadesa Satakam, or ‘One Hundred Verses on Self-Instruction’, which the artisan apprehend at a actual adolescent age. “Sri Narayana Guru was built-in in 1854 and died in 1928. During his lifetime, Kerala was at a acute juncture. The accompaniment was in the anchor of the degree arrangement and untouchability and animality appear lower castes was the norm,” he says. “He was built-in into the Ezhava caste, a lower-caste community, but became a scholar.” Armed with ability of Malayalam, Sanskrit and Tamil, Sri Narayana Guru acclimated his linguistic abilities to ability out to people, thereby starting a socio-religious about-face movement in Kerala in the backward 19th century. In 1888, he installed a granite block in a temple as a bounce of Brahminical practices. He again put a mirror in the temple as a metaphor, advancement bodies to attending aural themselves to acquisition God. He additionally put in a lamp as a attribute for antibacterial oneself. “These three simple things acquaint so abundant about life. Which is why I took these as the appellation of the show—Granite, Lamp & Mirror. His argument is acutely simple, yet difficult. Anyone can apprehend it, but you absolutely charge to burrow abysmal into the message,” says Madhusudhanan. He has set out to do 100 works aggressive by Atmopadesa Satakam, a brace of which were apparent at his contempo solo.

Born in Alappuzha, Kerala, Madhusudhanan advised painting at College of Fine Arts, Thiruvananthapuram, and book authoritative at the Faculty of Fine Arts, MS University Baroda. As a student, he was acutely afflicted by Marxist ideology, and by KP Krishnakumar, a sculptor and painter who apprenticed artists to amalgamate socio-political alertness in their work. Madhusudhanan’s captivation in antipathetic activities alike resulted in his arrest. And back he came home, he begin that his mother had burnt all the books and publications accompanying to communism. This adventure after begin a abode in his work, The Capital 1, which depicted a book on blaze and was apparent at The Guild art arcade in Alibaug.

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“Light and black accord activity to a picture. I use this old address in a avant-garde appearance to reflect the accompaniment of the apple today, ”  says KM Madhusudhanan

“Later, I became acutely analytical of communism. I came beyond mentions of abandon and animality perpetrated by antipathetic leaders in the USSR. I apprehend about absorption camps in Gulag, and of intolerance, of leaders sending whoever against them to these camps. It was actual abominable for me,” he says. This abashing activity and abysmal activation led to a alternation of 90 charcoal drawings—his better alternation so far—titled Argumentation of Disappearance: A Marx Archive (2014), which was apparent at the 2014-15 copy of the Kochi-Muziris Biennale, and in a abandoned exhibition at Newcastle, UK, in 2016.

Oppression, the animal action and the acceleration and abatement of empires abide to acquaint his work. He uses actual incidents to highlight abreast concerns. A prime archetype of this is the series, Penal Colony (2015), based on a 1921 adventure in Malabar back about 70 insubordinate prisoners awash into a alternation wagon by the British died of suffocation. “I consistently comedy with capacity that are accordant in abreast times too. That affectionate of organised killing is accident now also,” Madhusudhanan had said in an beforehand media interview. Then, there is Babel, which was apparent at The Guild art gallery, which talked about the abortion of bodies to affix with or accept anniversary other. His accession featured loudspeakers, organised in the anatomy of a tower, from which altered speeches by apple leaders in altered languages were played out, abrogation the eyewitness with a abashed blubbering of sounds.

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Much of Madhusudhanan’s convenance is afflicted by cinema, which has generally formed both the accountable and average of his work. He fabricated documentaries for the Sahitya Akademi, and his aboriginal abbreviate film, Self Portrait, in 2001. His best acclaimed blur Bioscope (2008), is based on the real-life adventure of Varunni Joseph, who ran bioscope shows in Kerala in 1907.

“When I was casual out of Baroda, I was acutely agog on apple cinema and blur history. I created sketches of cinema objects, of artists and directors. Soon, I started accession actual from the National Blur Archive of India, Pune. About that time, I additionally visited Museum of the Moving Image in New Jersey, which had 60,000 cinema objects,” he reminisces. In the two weeks that he spent there, he concluded up authoritative endless sketches and drawings.

He has continued this allure with blur into his paintings as well, creating a alternation alleged Archaeology of Cinema, in which the average is deconstructed in its concrete apparatuses, embodying the advocate actuation of industrialisation in the machines used. According to Shalini Sawhney, architect director, The Guild, he fabricated hundreds of baby assets and sketches as allotment of the storyboards for two of his films, Bioscope and Shambarik Kharolika. After commutual the films, he developed some of the sketches and assets into bigger sizes and in altered mediums as well. “That is how he accustomed at this accent and the abstraction of assorted images. The assorted console assets in The Marx Archive arise from the abstraction of cartoon in filmmaking. Also, some of the images in Madhusudhanan’s assignment chase the argumentation of montage, as in the films,” she says.

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His beheld vocabulary—both in blur and painting—is authentic by a comedy of ablaze and dark. Afflicted by the works of Rembrandt, Goya and Caravaggio, he uses this aggregate to actualize a affecting effect. “My film, Bioscope, has a chiaroscuro array of a feel. I extend the aforementioned to my paintings as well,” he says. In fact, Goya’s accent in works such as Los Caprichos and Black Paintings has had a abstruse aftereffect on Madhusudhanan, and he generally brand to ‘quote’ from the artist’s paintings in his works. An instance of this could be apparent in his contempo show, in the assignment blue-blooded Homage to Francesco Goya, in which abstracts agitate over a globe. The black that gathers about them is a accolade to Goya, as these abstracts get accessible to float out of the world—Madhusudhanan’s different booty on the refugee crisis in the apple today.

However, ‘unlike Goya’s figures, whose bodies and minds are addled by the beddy-bye of reason, there is no barbarous dismemberment, no claret beat in Madhusudhanan’s paintings. The artisan keeps abandon on a bound leash. Alike the analysis of acrylic in his assignment is dry, its wet translucence subtracted, as if we are attractive at the after-effects of an accident rather than the accident itself,’ writes Nancy Adajania in her argument on Madhusudhanan’s oeuvre.

“Light and black accord activity to a picture. I use this old address in a avant-garde appearance to reflect the accompaniment of the apple today,” says Madhusudhanan.

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