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The Book"The Book"For many, a 'book' is still 'a published work of literature or scholarship' with a primary purpose to announce, expound, preserve, and transmit knowledge and information. For an inventive artist like Yusuf, the concept opens up yet another opportunity to access some hidden pathways and eerie labrynths along unexplored landscape.
The Book In his skillfully proficient hands, "THE BOOK" becomes an anthology of individual impressions and collective vision. Its artful construct and poetic disputations are sustained by ancient legends and modern epics. "THE BOOK" is at once, an intimate revelation and forceful outpouring. It is an almanac of splintered memories, engraved dreams, embossed desires and open confessions. Stalked by intense images, potent symbols and stirring metaphors, "THE BOOK" is a springfield of unflinching hope and obdurate optimism.
Picasso inspired and influenced an entire generation of artists in his life time and after. I was no exception. "Guernica", that eternal saga of human conflict - has a gripping inspiration on me. In this painting "War,Guernica Re-occurs" I am seeking to manifest my philosophy and belief that conflicts has no place in human civilization.

As he researched for the Guernica series, he worked on computer generated images which were born out of a brush with newspaper headlines. These images were transferred onto canvas and worked on to the required perfection. This series is now called the "Children of Conflict"


This painting was the artist's reaction towards the horrific and unfortunate incidents that shook the Indian state of Gujarat last year, where a lot of human lives were lost. Conceived on the lines of Picasso's "Guernica" the artist has infused certain images from that great work. These realistic images that form the canvas were modified forms from many human conflicts like the Biafra and Vietnam.

Paper"Colours are important to me, but my colours seem to define darkness. They tend to move towards black. Often I am forced to shut down the exuberance of flaming colours to the dictates of my inner force. The darker the colours, the more alive they become to me...."

"At one point he worked in abstract geometric shapes, at another point in figurative paintings, or in images of old age, priests, servants, young women, widows abandoned on the banks of the Ganges river, street children, empty chairs, or a lantern in a hut, windows, walls that stand as a mute memorial to time."

Many of Yusuf Arakkal's paintings feature a figure, standing or sitting on the edge. The face, he says, whether it is of a man or woman, is himself, an observer; and alone. "I have been painting this character for 20 years; I'm not bald, I'm not a woman, but I'm sure it's me," he says, speculating that, as everyone believes him to be a happy, outgoing person, it is only through his paintings that he can allow the quieter; inner man to emerge.

ChairIn restlessly moving from one subject matter to another, Arakkal tried to demonstrate that an artist's job is mainly to find a way to communicate by creating a language that is not exclusive to one set of individuals bound by religion, or community, or ideology, but one that can break through all these barriers.Urban