Heart in art
T Kaladharan, secretary, Kerala Kalapeetom, a centre of study in fine arts, has all along walked a different path. Gifting fine arts, the concept of ‘orthic,’ and creating a movement called ‘Painting Theatre,’ the man has guided many an upcoming artist in helping them develop their own art perspective. He is in Dubai, as a special guest for an art exhibition held by Nazar U Sahib, one of Kalapeetom’s former students. Rajeev Nair met him
Photographs: Prashanth Mukundan
T Kaladharan wears art in his name.
No wonder that the artist also wears art on his persona as a sort of unique creative expression, which saw the birth of a new art movement in Kerala — the Painting Theatre.
Kalapeetom, an informal study centre for fine arts in the coastal township of Kerala, Kochi, has for many years now, come to epitomise all that Kaladharan stands for — or is it the other way round? Either way, Kaladharan, a thoroughbred Kochi-ite, who was instrumental in his own way in developing an art culture for the city, is a little disillusioned with the turn of events.
For one, art for art sake has given way to art for commerce-sake. And so in a city that prided in showcasing original works of art — Kochi even has been home to a famed art collector Madhavan Nayar — now promotes art reproductions, observes Kaladharan.
More importantly though Kaladharan would love to restore Kalapeetom to its heights of glory. In the 80s, Kalapeetom, managed by a trust led by Kerala’s towering art-enthusiasts evolving from an idea mooted by a connoisseur, MKK Nair, has played host to virtually every artist — be it fine arts, cinema or music — who traversed Kochi.
Kaladharan, who had followed the guidance of illustrious artist MV Devan, was requested to look after Kalapeetom, as honorary secretary, which he took to heart by housing it in his own ancestral property. Eventually, it evolved as a nerve-centre of Kochi’s cultural activities.
When Kaladharan decided to have a home of his own, Kalapeetom had to find an alternate berth. Little has happened. While tourism initiatives are gaining momentum in Kochi, there is little attention to art, says Kaladharan. He had approached actor Mammootty, who announced his intention of opening an art village. Nothing has happened.
And yes, Kaladharan is pained.
Yet, the artist, who discovered new levels of artistic understanding by working for a year with Japanese master sculptor Hiroshi Mikami, has not been silent. Over the last two years, he was constructing a sculpture ensemble for a private residential property, Neptune Country, in Kochi. The project including a Kilithara (bird floor, a tribute to Hiroshi Mikami), Kalithara (play floor, a tribute to theatre maestro G Shankara Pillai), Pallippatha (Lizard way, for the kids who are yet to come), and the Padithara (Gateway, for those who have grown old ahead) includes Kochi’s tallest abstract sculpture. Kaladharan also makes a statement with the ensemble: “The Pallippatha, recreates the importance of the mundane lizard. We played havoc with the natural habitat of creatures, and now isn’t Kochi suffering from swarming mosquitoes?”
Probably, one of the most significant contributions of Kaladharan, and one reason why the Kerala Lalitha Kala Academy Award winning artist is less seen than many of his contemporaries, is his ‘orthic’ concept of painting. Being in glass, these paintings are hard to transport.
With orthic, everything happens on the reverse. “I paint on the back surface of the glass, which means I have to paint in the reverse pattern,” says Kaladharan, who coined the word ‘orthic’ from the Malayalam word “Orkkuka,” meaning “remember.” Yes, he had to remember every simple detail.
“In art, ‘ic,’ has a significant place. We have Gothic art, acrylic, graphic and tantric. My contribution is orthic,” he says.
Kaladharan is also the first exponent of the Painting Theatre movement, which is essentially the concept of merging theatre with painting. He covers his face, and dresses up, sometimes in weird costumes. The objective of it all is to cut off his persona from real life, and give art an opportunity for unbridled expression. “When I am cut off from the world thanks to the costumes, I have the freedom to say, and do, what I truly feel,” he explains.
Kaladharan has been the founder member of the Cochin Film Society, and the Monday Theatre, and is patron of The Little Theatre. While the Cochin Film Society brought to the discerning crowd in the city, a rich repertoire of world classics, Kaladharan himself has ventured in films only lately.
He does the art direction for the forthcoming film, Samam, directed by Shyamaprasad. He, however, underplays his contribution. “There is nothing much of significance,” he says. He lapped up the offer for two reasons: One, the money associated with films. Two, and more importantly, the opportunity to work with music maestro L Subrahmaniam, who has composed music for Samam. “I have painted to the music of Subrahmaniam,” says Kaladharan. “Here was an opportunity to work with him, as well as a terrific cinematographer, KM Nambiar. I think, we will make a great team in the future.”
The invitation to Dubai from Nazar U. Sahib to grace his first exhibition follows a recent visit to Holland and Germany, where Kaladharan took part in art workshops, and also exhibited his works. “Artists there were shocked to discover how little governmental support artists in Kerala receive,” says Kaladharan.
Nazar had trained in Kalapeetom, and his exhibition to be held from April 27 to May 4 at the Dubai Media City, is a tribute to Kaladharan.
“He helped me understand art from a fresh perspective, especially during my formative years,” says Nazar, whose works are marked by a striking simplicity. His exhibition includes some 26 paintings, and two sculptures. (See Box)
The mentor in turn sees in the invitation a leaf from his own life. “I had invited MV Devan for my exhibition in Goa, and it was his first visit to Goa. Similarly, this is my first visit to Dubai, and it happened because of Nazar’s exhibition,” smiles Kaladharan.
However, he might be back soon. Nazar has plans to hold an exhibition of Kaladharan’s works in Dubai.
Despite the flagging fortunes of art in Kochi, and Kerala, Kaladharan is happy to see the emergence of youngsters, who are serious in their approach to art. “There are also a large number of art galleries, and there is a renewed interest in the campuses. It is a good sign,” he says. He helps the young crowd out in whatever way possible.
Right now, though, his mind is in Kalapeetom, and restoring it to its past glory.
