No one cow give milk…tathi premchand

No one cow give milk…we do it, there is no law for Hindu or Muslim , but human is most danger animal, who give lots comment… like me, like u, like us

I love Mumbai & I hate Mumbai

I love Mumbai & I hate Mumbai

I love Mumbai & I hate Mumbai

Send your entery for Project -Smell of Mumbai 

Organizer  by Tathi Premchand

1) 15 artists will select only

2) Artist can be from all over the world

3) Artist send email only 3to5 work any size (Installation,write-up,abstract,Digital,Drawing,Artworks,Photographyor more ...)

( Note: artist shoud send very short CV last 2yr only, art view why he want to Join : in 5 to 6 line -Marathi, Hindi, English)

4) This project run by all selected artist ( artist fund )

5) send you entery email only( email only one time )

6) total 3 show in Mumbai steet life it will be Happne every yr

*) Dharvi   18 March 2012

*) Dhobi Ghat Mahalaxmi 18 April 2012

*) Grand road-Red Light era 18 May 2012

Last show will be in Gallery end show, Date will be dispaly after 18 May

last Date 15 FEB 2012

http://smellofmumbai.blogspot.com/

when, I come to mumbai 1990

That time Art gallery open till only at 6pm, most the time i am running to catch show, bez working in office, but now change ...
now day some gallery open night till 10 am, late night show and further morning also till ..so be ready for change .. further do come to my show night 10 pm to 6 am morning ..we serve Bed tea :) aslo

City Missing a sparrow in sky : Abstract Poem by Tathi Premchand -2012

Sparrow in my window - Poem

Sparrow in my window ..tiwt tiwt

She is not calling me, she saying start painting

Sparrow in my window ..she is not looking at me

She is finding  Mirror, she is not tiwt tiwt

When I  always eat rice , more then I keep for her

Bez she can not cook, she like boil rice only,

She can not cook, she is like me , she come from very far

She is come form across the sea, her hand and wings always find colour

she is not sparrow, when looking at city...

City Missing a sparrow  in sky...waiting for her with colors on hands

- Tathi Premchand

send you view about new poem to artist

<e:Mail>

send your view and review on email : tathi.premchand@gmail.com

http://abstractbytathipremchand.blogspot.com/2012/01/blog-post.html

Sperm Tel story ..2012 by Tathi Premchand

One Sperm believe in love other in sex, both are need on earth, both are each other good friends, they live in single  body but different part  but fight always and work together.


One Sperm finally dead, he is dead you not need think for burn or keep in box, he is not religiousness he is pure sperm, other is hang out missing his friends, he is not so unhappy
bez of death, some time he think of world populations my county India, always song sing India is my bother and sister now they should sing India is my  county  all so many bother and so many my sister …




Sperm believe love each other in different way all the time and always different human, they are not mono tone..must they born for freedom
they live like one big family, you depend for your happiness, for your joy, on somebody else they ...we should learn from sperms :)    ..Tathi Premchand

chick more about

http://nudebytathipremchand.blogspot.com/2012/01/sperm-tel-story-2012.html

Like jalebi to Mill worker bones found at McDonald for Boneless dream of hunger steel- Tathi Premchand

Why and how can we display a painting in our thoughts without buying it? If ever anybody buys this ‘Boneless’ painting then it is crucial for the buyer to know this because it is more than necessary to keep it installed in the mind but also to understand the depth of the painter’s thoughts poured in it. I have never thought so meticulously about any of my other paintings before this.

I am bit confused as to start from which angle about this painting. The thought of this painting   was lurking in mind since 2009. First  I had thought of making it in digital but as the days went on I doubted whether digital creation would really do justice to this painting; so I finally decided to work upon it in oil colors and was sure that this medium would justify the theme of the painting.

I am more enthusiastic to share my experiences while I was developing this painting thought. Mumbai 1992- During initial stages I and my friend would seldom visit Colaba- Mohammed Ali road in Mumbai where you get delicious non- vegetarian food. We would go there during dinner time and order for boneless- chicken, bheja fry, kaleji fry etc. (I am deliberately using Indian names of dishes). The thought would cross my mind that may be we had ordered same separation of bones and flesh during Ram mandir- Babri mosque issue. The whole threatening issue was cooked up by separating bones and meat. Bones and flesh are bonded to each other right from the time living being starts existing in nucleus. I myself don’t know why I am giving an elaborate explanation of this painting when I am myself of the opinion that a painting does not need words. Now-a-days even ‘abstract art’ which does not need any general interpretation and every observer should have individual perception; has volumes of books explaining it and also ‘speaking talk series’ are held to discuss it. So I think I can write at least one or two pages on this painting.

I am still trying to know the reasoning behind this painting, why did it dawn on me? A thought struck me just like the bong of Mill labourers’ that would fill the air of Mumbai before mills were locked forever.

That was the time when Mumbai was bustling with mill- labourers’ crowd. The character of mill- worker was so influential that even the motion media especially films were based on life of a mill worker and heroes prefer to play the character of hard working, faithful mill-worker. It created a lot of good impression about actor and gained him popularity and fame. There was a competition to portray the best mill- worker. I think my ‘Boneless’ is based on bones of by-gone mill- workers which are separated from the meat and served in McDonald as ‘boneless chicken’ in ‘Phoneix Mills’ which was the only source of earning for mill- workers! Ironically, the delicacy is sold at Rs. 50 with free Coke! Are these the mill-workers who are completely wiped out from Mumbai’s scenario? If you happen to go to Phoneix Mills Compund just look at the chimney of the mill which stands high as the memory of the makers of Mumbai city or the people who gave identity to professional existence of Mumbai. You will have an illusion of it still ringing. And this would happen only if you have not yet tried to separate bone from flesh.

Now that area is residence of upper-class society and that chimney maybe the status symbol for them just like in earlier times the royal families would hand the hay filled dead wild animal’s face on wall as the pride of showing their hunting skills. Whatever it is, surely it is one of the ways to remember past. I thought like this one day there might be ‘a boneless mill’ as well, which would be addressed as Hutatma Mill.

I had not completed the painting in one go. There was a long break of a year when I did not work upon it; nothing instigated me to be drawn towards it. While I started painting it again, I meet Parbhakar Kolte Sir. Sir said something very funny yet critical. He said, “Now-a-days paintings are made like jalebis .The batter is prepared and kept overnight for fermentation and in the morning fresh and hot jalebis are fried. In evening the jalebis which become stale and not sold are thrown away. In this way today’s artists ‘prepare’ paintings and if not sold simply discard them.” And currently jalebis are sold on large scale in Delhi!

I related the above dialogue to my own paintings and thought that I have made en number of paintings in last 15 years but I have not yet thrown them away because for me they are still ‘fresh’ not yet ‘stale’ like leftover jalebis in evening. People have wrong notion,: ‘that which sells is the best.’

I have the word ‘steel’ in the tittle of this painting. I deliberated on it thinking of Subodh Gupta’s creation. It has steel utensils; symbol of kitchen ware’ food and hunger. Yes, his steel has severe hunger; hunger for Art! To rise higher, the highest It reminds of advertisement with tag line, “Have you made it large”. I am excited to see his creations. There is no much relation of my painting with his works; only for me steel represents hunger.Busy with routine life, one day suddenly world got the news of M.F’s death. M.F. passed away from this planet. At that very moment the bones in my painting seemed to be of M.F.; now calm and static! M.F.Hussain lived long innings keeping his bones fit. Maybe bones are resting in body in London. People opposing him might be waiting for his bones. There is no one who must have not thought of separating bones and flesh. This is traditionally followed and prevails even today.

Bones in my painting are surely of M.F., because he was separated from his homeland like meat and bones as soon as ‘boneless’ was ordered with his reference. I feel the paintings which proved controversial were not at all ‘image spoiling’ The opposers of Hussain must have curbed sex drive for many years, so whatever they saw they conceived nudity in it. But our history proves to much modern in outlook than today.

Few months before Akbar Padamsee said ,”I am Muslim but did not paint any Hindu God nude.” But Akbar does nude photography even at this age! It is one and the same thing whether you paint Goddess or a woman nude. Thankfully in my painting there is no flesh but just bones.It is not like I do not paint nude paintings; I do. But after painting this painting I realized that nudity lies in our thoughts and not the body of flesh that we see. Briefly, Hussain had to leave his country. I would stop here as the topic might get diverted from my painting and take another route.

The painting is still a mystery for me. Is there really ‘hunger’ in this painting? Once while painting this, it was mid night and mosquitoes were troubling me. While working I killed so many  of them with ‘Chinese bat’ which chaars mosquitoes even at the slightest touch. It reminded me of a film ‘Seven years in Tibet’. I felt the same atrocity of China over Tibet in which en numbers of Buddhist monks were killed. Even I was cruel with mosquitoes. At the very thought I stopped killing them.  At the very moment I saw an ant coming towards dead mosquitoes followed by many other ants racing towards their prey. Then I realized that ‘mosquitoes’ were their dinner party for night.  Did ants desire to have mosquitoes for dinner? But were they helpless because it was not possible for them to catch live mosquitoes. Was it a special treat for their ‘hunger?’ Thinking this I did not feel much bad about my act as I thought that I had become a mediator in providing them their desired food. But ‘Tibetian monks for dinner’ was for whom?  The answer is still unknown. The ants might have thanked me for the dinner and future generation of mosquitoes must have sweared to suck my blood. This is ‘the hunger’ in my steel tiffin box. 

Then a final phase came when it was an apex of relating my painting to frightful reality.Once I was traveling in Mumbai local train. It was crowded and I was seating on the third seat. A family entered with wife carrying a child followed by her husband. People were making loud noise, fighting over trivial matters and like every day playing with words, when just my eyes goes on child, that child The face of a child was completely hidden and I wanted to see the face. But the face was fully covered and as it happens that we are more enthusiastic to know about the undisclosed secrets; so even I wanted t see the child’s face. Train started and suddenly there was cry of child. The man sitting next to that mother had seen the child’s face and instantly closed his eyes. He was quiet frightened. I sensed something wrong. Another man in the compartment told to fed the crying child to which father said, he was not crying because of hunger. That child did not have eyes and ears and his bones had stopped growing. His body was not growing at all. But whenever he cried, he cried aloud. He gives proper signals when he is hungry. Hmm, so the hunger is involuntary even if the bones don’t grow.

So this is the drive that everyone has. The painting has and it is the ultimate desire for which everyone lives. I did not dare to see the child after that but I salute the mother who was feeding the handicapped child. How did she dare to grow a child whose growth had stopped? The lifeless life only that breathe and hunger! Her hunger for motherhood!

Everyone has hunger. An ant hungry to have mosquitoes, China for Tibetian land, Hussain’s hunger to return to birth land ,  hunger of Babri Masjid to go back to Ram Mandir and Mill turning to Mall; all hunger in different ways of subject  and name of nominee.

It is hard to separate bones from flesh; when both  are born together , stick till end , they are inseparable. So also if Ram mandir is erected on ruins of Babri Masjid, then people will say, “This is the same Ram mandir which is stands on land of Babri Masjid.”

All these are the reasons for the creation of ‘Boneless dream of hunger steel.’ – Tathi Premchand.


http://tathipremchand.blogspot.com/2009/04/recent-view-about-my-painting.html

The name itself suggests sarcasm.

This is with regards to my new series of paintings under concept 
Open Heart for Earthworm is about the modern and technological advance and in the process ignorance of the nature. Superficial living has gained much prominence. The simple proof is the cement jungle which inhibiting the most helpful creature, earthworm from its existence on the ground. Aren’t we improving our life- style on the cost of their living? Thoughts as such do stimulate our mind, but without any positive outcome. We just seem to think, like an ass. Ass in the series represents common man, who always looks deeply engrossed in thoughts such is the mental and physical condition of people who act as guided by political, social and communal guidance. Hardly anyone tries to be different.


http://theindiandhobighat.blogspot.com/


Dhobi- Ghat is visual and metaphorical in nature which represents the cleaning of clothes and sarcastically raises the question of cleansing the soul. The images of hard- working men, white clothes, colorful clothes, tied bundles and so have their meaning associated with life of every individual. A Dhobi- washer man washes every kind of soiled clothes and is contended with his profession. But the question is even if a person wears clean clothes, does his soul too gets a timely wash? Here the target is towards the mass which has superficial simple living but act shrewd and cunning when it comes to the misuse of power for personal benefits. As Kabir’s say, “Kapdon ka mail toh dhobi saaf kare, manka mail kaun kare?” is frequently experienced in these artworks.
The series also captures the realistic based visuals, through art of photography. It is about the transition from old to new. How the attitudes, preferences and love for materialistic gain has changed the way modern human lives.


Tathi Premchand‘s his recent work: ‘Open Heart for Earthworm’
Tathi has come a long way in his creation of artworks. His horizons have expanded drastically. Along with the skill on canvas, he now portrays the feelings by experimenting photography, installations and merging of mediums of expressions. His recent work is ideally matured than his earlier works. It speaks of contemporary situation in sarcastic, humorous and satirical manner. His work is based on the back drop of current issues and problems faced universally. It speaks people’s mind. The work not only appeals the thought but evokes reaction in mind of an observer. He is currently working on series called ‘Open Heart for Earthworm’. The name itself suggests sarcasm.
In this series he concentrates on the dynamism of politics in every field and the misuse of power at the same time. It is ironic that people see, hear and follow the power which ultimately proves destructive to them, but they have no choice to reject and discard this system as there is no option of perfection for the system revival. People are reduced to ass where in they seem to ponder on issues but cannot react but wait, watch and move towards doom. Modernization has sucked the blood of mother earth and given us a temporary life which seems beautiful. The danger of global warming has come up and griping us rapidly. Use of modern equipments and development of cement forest is cutting down nature cruelly. Still we prefer it….because, according to Tathi…we are addicted to the modern ways of luxury and comfort at the cost of natural gifts and reducing the number of years of our own life. 

Poked.

My paintings are not showpieces. You cannot decorate your drawing room to make it look beautiful, but you can decorate your mind with it to make your body beautiful.

Most of my time is spent in traveling by local trains in Mumbai. I prefer it to any other mode of traveling. It is the institute for me. Thousands of minds brush with each other every single moment. People have their own news, views, opinions, reactions, sometimes resulting in mass appeal. I can view the emotional and practical reaction of the fellow citizens by interacting with them and I think they are all creative minds and provide lot of essence to my creation. I see a person trading in vegetables or scraps has more perfect knowledge of economics and politics of the world. He doesn't need a degree or big fat books to update his knowledge; the everyday struggle is guide for him. That's something different which you find only in local trains. It also represents mini India with its clashes and unity projected from time to time. People converse and argue as if discussing the issue in the world conference.


Variation is but natural in my paintings. Just as Heraclitus had rightly said, ‘It is not possible to step twice in the same river.’ My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. Painting is not just passion for me; it is a part of my life. I paint when I get stimulated to do so. There are times when for days together I do not paint at all.


I gradually was introduced to Galileo, Heraclitus, Osho, Mirza Galib, Kabir, and Lao Tuz and their lives. Their philosophies have greater impact on my work and my self being. Pablo Picasso is great artist; I worked as a volunteer for one month in NGMA, Mumbai because of passion for Pablo Picasso, during his paintings exhibition, just to be close to his art work. Though his work has good impact on my life, but it does not influence my work. I cannot even follow foot step of my own work. I am going to be a part of 2008 BNHS Greenscape-2 Art Auction by Pheroza Godrej. I am also part of the group show by Harmony Art Foundation 2008 and many things more. Life is full of works!




My Paintings gain life after their sale; else they lie dead in my studio.


The artist lives and works in Mumbai

Heraclitus had rightly said that it's not possible to step twice in the same river, my paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work.

Loaded with passion and charged with energy Tathi Premchand keeps an eye at the nature and public and steals its tools to make his work better. Mesmerized by outdoor wonders he often explores opaque visions of lives lived and locations. Premchand's forms and images are pleasing to the eye, yet speak of an underlying rebellion that which the living being is constantly subject to in trying to achieve the unachievable. His works cover a diverse gamut of theme and style; some are painted in a grave manner, whereas others may have tones of sarcasm or humour. In a conversation about art, life and its process, Premchand reavels somehting uncommon about him. As he says, “I cannot even follow footstep of my own work.”
Excerpts from the conversation and some works on display…


Surya Singh : Can you retrace your journey as an artist, please? 


Tathi Premchand : As a child I was intrigued at sketching and painting and colours seemed to attract me. My dad wanted me take science after school, but I was not a brilliant student and used to score low in my exams. So I pursued art which I loved. College was a mixed bag of learning. I still remember Prof. Prabhakar Kolte teaching portraiture, and what a portrait he would draw! It is very surprising that he is an abstract artist. After college I had an unlearning process. I started my own learning and experimenting process. Art is the best journey I have ever undertaken. I had my first solo show after ten years of experimentation.


SS: As a Mumbaikar do you think you have any advantage in this city? 


TP: I enjoy working by myself and I ‘feel' art first then I paint. Most of my time is spent in traveling by local trains in Mumbai. I prefer it to any other mode of traveling. It is like a laboratory to me. Every single moment thousands of minds brush with each other. People have their own news, views, opinions, reactions, sometimes resulting in mass appeal. I can view the emotional and practical reaction of the fellow citizens by interacting with them and I think they are all creative minds and contribute a lot of essence when I am createing a work of art. I see a person selling vegetables or scraps has more perfect knowledge of economics and politics of the world. He/She doesn't need a degree or big fat books to update his/her knowledge; the everyday struggle is guide for him/her. That's something different, which you can find only in local trains. It also represents a mini India with its clashes and unity projected from time to time. People converse and argue as if discussing the issue in the world conference. Silence when Saddam was hanged, fear of luggage bombs after bomb blasts in train or simply suspect the odd looking fellow passenger are some of the reactions that are interesting to note. The joke of not giving pressure cooker as a gift, was a joke created in the local train. I sleep better in local trains than in my bed.


SS: Yes. One can see the culmination of these things in some of your works. Indeed I will request you to describe your painterly process. 


TP: My works are not just showpieces but are thoughts to ponder over. I have painted various aspects of thoughts and forms as and when they stimulated my mind. They are my views, observations and conclusions in visual form. Variations in human nature teach me to view the world through different angles. Characters, nature or simple colors symbolizing the psyche of a person, all find their way in my art. Being observant has helped me to add colour to my feelings. Charged with the passion for painting, I feel myself grow with each and every work that I undertake. My characters also are like common man walking on road or going to movie. They are very simple human being but filled with creative energy. I learn by myself sometimes and I do something better after every visit to some exhibition. After looking at others work I feel charged and try to do more works with passion.


SS: How do you critique/analyse the works you are engaged in making? 


TP: Of course one should keep checking oneself time and again. And should welcome healthy criticism also. Paintings are not and cannot be branded at all because I believe branding is done with the motto of selling. People buy branded product, which has a particular identity and repetition in itself. Variations are but natural in my paintings. Just as Heraclitus had rightly said that it's not possible to step twice in the same river, my paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. Painting is not just passion for me; it is a part of my life. I paint when I get stimulated to do so. There are times when for days together I do not paint at all.  


SS: You have done a lot of works on Mahatma Gandhi. Here I see something different. You just has threatened the stature of monkeys. Bura dhyan se dekho, bura dhyan se suno, bura dhan se kaho . What does it mean? 


TP: Let's move on to a different topic…


SS: I am sorry. It means you're against the making of Icons. Can I call you an iconoclast? Are against sermonizing? 


TP: I don't know whethet to call myself as an iconoclast. But, definitely I am not in favour of icons.


SS: Are you intuitive in nature? 


TP: Intuition is not a whole, but part of my work. Rather it is distinctive approach.
I get involved emotionally with my works and work practice. Even I very easily get emotional with my surroundings and the people I meet. And at that point I don't argue or become rationale. I think intuitions are part of heart rather than mind. And I am more powerful at heart than mind.


SS : Kya baat hai . There is a very famous phrase - emotions bhi kitne stupid hote hain logic hin nahi samajhate . Anyway, please tell us about some of your future plans. 


TP: I am doing a lot of work. Saffronart is going to do an online show in January 2008 and I am going to be a part of BNHS Greenscape Art Auction by Pheroza Godrej. I am also part of the group show by Harmony Art Foundation run by Tina Ambani . And many things more. Life is full of works!

REVIEW OF BLOG by Pankaja JK

http://tathipremchand.blogspot.com/


Tathi Premchand’s paintings have variations of thoughts and sensibilities. Right from mythological adaption to modernistic sensibility every aspect is cleverly covered in his paintings. The focal point is that it varies from somber to humorous level keeping the undercurrent of thoughtfulness flowing in whichever ways the ideas surge. Analyzing all his paintings would be interesting but quiet exhaustive. The depth and variation can be seen in his series of sketches where we come across current affairs from all walks of life from spiritual to political. 




A sketch of a loaf of bread and a brick, with God’s name written on it is a direct indication that though both play equally important role in life of a devout, it is that bread that matters above everything. Hunger defeats every other grapevine, because bread for hunger is involuntary demand and brick for monuments is voluntary choice.
Right from painting the queries of Ananda, the disciple of The Buddha and solution by Lord Buddha to directly and subtly portraying Mohandas Karamchand Gandhi and his message, the artist also has directly projected in his paintings that even in modern day non- violence and peaceful endeavors are the strongest weapons to win the world. No other practical aspect has been effective to make an impression on world and therefore world’s strongest leaders have implemented theme in their principles, so we find face of Obama on the body of Gandhi. If meticulously observed, Tathi prefers writing full name Mohandas Karamchand Gandhi instead of just ‘Gandhi; in this his motive is blurred.




Does he want to insist upon Indian or Asian idol followed all over the world or does it simply seems impressive to Tathi to address Gandhiji by his full name. Whatever the reason saying full name does make a profound impact.   
According to Tathi Premchand he likes his paintings to speak for themselves when he says that “Painting should maintain its identity in such a way that on the instant of seeing it, one should be able to understand its intensity. For me it’s an achievement if my painting speaks; be wordless expression of thoughts! “He does complete justice in creations.
Tathi Premchand is very judgmental in his approach. He compares the modern approach on commercializing art and traditional approach of art for sake of art.




He has the skill to capture both in same frame and prove the difference. In one of his unique photograph, he has captured two artists of different generations, one new and other old master. The young artist is busy interacting with media and speaks about his work and skills. Whereas the old-master is composed and proves his skill by painting on canvas in presence of media, who generally wants artist to analyze his own work. Old master does not analyze his craft verbally, but proves it literally. His painting speaks for his art and skill.


Most of the modern inventions do offer comfort and pleasure to people who are desperate to seek them, but if we think and realize the so- called modern luxury, we will find more ill-effects than goodness. Tathi has shown it through his photographic art called, johny johny yes papa.. heaving sex no papa..telling lies yes papa‘Plastic love’ where a young boy happily chews a chewing- gum. The expression of delight on his face makes one feel happy too, but the chemicals that he consumes through this luring sweet is nothing but a danger to his life.


Tathi has come a long way in his creation of artworks. His horizons have expanded drastically. Along with the skill on canvas, he now portrays the feelings by experimenting photography, installations and merging of mediums of expressions. speaks in sarcastic, humorous and satirical manner. It speaks people’s mind. The work not only appeals the thought but evokes reaction in mind of an observer. The name ‘Open Heart for Earthworm’ itself suggests sarcasm.


Open Heart for Earthworm is about the modern, technological progress and ignorance of nature. Superficial living has gained much prominence. The simple proof is the cement jungle which is inhibiting the most helpful creature, earthworms from its existence on the ground. Aren’t we improving our life- style by doing injustice with other mute creatures in nature?? Such thoughts do stimulate our mind, but without any positive outcome. We just think; think like an ass! ‘Ass’ in the series represents common man, who always looks deeply engrossed in thoughts such is the mental and physical condition of people; who act as guided by political, social and communal guidance. Anyone hardly tries to be different.


In this series he concentrates on the dynamic influence of politics in every field and the misuse of political power at the same time by people in power. It is ironic that people see, hear and follow the power which can prove to be destructive to them, but they have no choice to reject and discard this system as there is no option of perfection for the system revival. People are reduced to ass where in they seem to ponder on issues but cannot react but wait, watch and move towards doom. Modernization has sucked the blood of mother earth and given us a temporary life which seems beautiful. The danger of global warming has come up and griping us rapidly. Use of modern equipments and development of cement forest is cutting down nature cruelly. Still we prefer it….because, according to Tathi “…we are addicted to the modern ways of luxury and comfort at the cost of natural gifts and reducing the number of years of our own life.”
Dhobi- Ghat is metaphorical in nature which represents the washing clothes and sarcastically raises the question of cleansing the soul. It is the famous dhobhi ghat or open laundry near Mahalakshmi station, Mumbai. 




The images of hardworking men, white clothes, colorful clothes, tied bundles and so have their meaning associated with life of every individual. A Dhobi- washer man washes every kind of soiled clothes and is contended with his profession. But the question is even if a person wears clean clothes, does his soul too gets a timely wash? Here the target is towards the mass which has superficial simple living, but act shrewd and cunning when it comes to the misuse of power for personal benefits. As Kabir’s say, “Kapdon ka mail toh dhobi saaf kare, manka mail kaun kare?” is frequently experienced in these artworks. The omnipresent effect given to these paintings by repeating the images in four directions suggest universal behavior, that is not restricted to any particular community or country.


- Pankaja JK