From 'Bara Hati Bahang Jiwa'
Expression And Expressionism In Contemporary Malaysian Art
By Niranjan Rajah
Jeganathan Ramachandram has, since the mid 1990’s, been making his presence felt in the contemporary scene, with a powerfully figurative spiritual expressionism. Having studied sculpture, woodcarving and painting from a traditional perspective, Jeganathan has been developing a direct and personal mode of expression that is nevertheless steeped in traditional Indian philosophy, psychology and science.
In a note to the author he has said, “I have always believed that art is not just a decorative medium but a powerful tool of expression and the deeper I looked within the Indian art contest I saw the vast symbolic expressions that exist within the ‘rigid style’…Then I started painting in a narrative form much like the old times. Nearly every painting of mine had a story and every symbol I applied, new and old, further enhanced the story.
During this time my involvement in spiritualism introduced me to many wondrous expressions and their visual impressions upon my mind took on new shapes and I started depicting them in my paintings.
‘Invocation’ and ‘1 Tree= 40 Life Forms’ reflect this quest for a spiritual expression, with different degrees of reference to the works of lived experience. ‘The House Slave’ is a response to the suffering of a friend in an abusive situation and a reflection on the plight of women caught within Indian social norms.
Of ‘Fallout in the Garden of Life’, the artist has said “Kali is nature and she is fighting everything unnatural which has created imbalance on earth and all the people in the boat- like thing, that Noah’s Ark (my version). My belief is that nature will always protect those who are natural and the five hands represent the five elements (pancha butham). And notice the tree, that’s where it all starts.'
Expression And Expressionism In Contemporary Malaysian Art
By Niranjan Rajah
Jeganathan Ramachandram has, since the mid 1990’s, been making his presence felt in the contemporary scene, with a powerfully figurative spiritual expressionism. Having studied sculpture, woodcarving and painting from a traditional perspective, Jeganathan has been developing a direct and personal mode of expression that is nevertheless steeped in traditional Indian philosophy, psychology and science.
In a note to the author he has said, “I have always believed that art is not just a decorative medium but a powerful tool of expression and the deeper I looked within the Indian art contest I saw the vast symbolic expressions that exist within the ‘rigid style’…Then I started painting in a narrative form much like the old times. Nearly every painting of mine had a story and every symbol I applied, new and old, further enhanced the story.
During this time my involvement in spiritualism introduced me to many wondrous expressions and their visual impressions upon my mind took on new shapes and I started depicting them in my paintings.
‘Invocation’ and ‘1 Tree= 40 Life Forms’ reflect this quest for a spiritual expression, with different degrees of reference to the works of lived experience. ‘The House Slave’ is a response to the suffering of a friend in an abusive situation and a reflection on the plight of women caught within Indian social norms.
Of ‘Fallout in the Garden of Life’, the artist has said “Kali is nature and she is fighting everything unnatural which has created imbalance on earth and all the people in the boat- like thing, that Noah’s Ark (my version). My belief is that nature will always protect those who are natural and the five hands represent the five elements (pancha butham). And notice the tree, that’s where it all starts.'
