"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.
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.
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.
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.
"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."
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.
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