Artist Chandan Bez Baruah is known for experimenting with the printmaking medium. He uses his woodcarving skills to create large, highly finished prints focussed on the landscape of Northeast India, where he was born and raised. Through his intricate work, he brings to life the ecological and nostalgic connections of this area, especially the effect of rampant urbanisation on it.
Shining a spotlight on his work this month is Bhavna Kakar of LATITUDE 28, through a solo exhibition titled ‘Elsewhere In Northeast India’. Curated by Waswo X. Waswo, this show was first on display at the Shridharani Gallery, Triveni Kala Sangam and has moved to LATITUDE 28 in Lado Sarai, Delhi, where it will be on display till September 20.
Since its inception in 2010, LATITUDE 28 has made a name for itself in the art sphere through a lateral, disruptive and avant-garde practice. Says its founder-director, Kakar, “Mentoring and nurturing emerging artists from South Asia, the gallery focuses on experimentation with medium and material fostering critical dialogue, perspective and practices by writers, critics and researchers alike. These maker-market relationships amongst collectors, art enthusiasts and art practitioners have grown through the gallery’s interactive incubation space, where ideas have been generated through innovative curatorial projects located on the cusp of art history and socio-political context through site-specific artworks and artist talks. The gallery makes art accessible and inclusive with exhibitions located at the intersection of artists, institutions and art education.”
“Baruah’s ‘Elsewhere in Northeast India’ reveals the stark, mountainous undergrowth of Assam through the lens of history, culture, and contemporary conflict. His art, coaxed from wooden boards, evokes an intimate journey through the jungle, inviting us to silently observe the beauty and significance of his most treasured haunts. Through Chandan’s eyes, we experience the forest as a young man who has shared moments with soldiers and nature alike, deeply connecting with the landscape,” explains Kakar.
Hailing from Nagaon in rural Assam, Baruah has always found solace in the forests, away from urban congestion. His works consist of digital photographs carved on medium-density wood-fibre matrices in a wonderful display of hand-craftsmanship. His photorealist style brings to life the chaotic beauty of natural scenes, quite apart from the traditional orderly compositions associated with printmaking. Kakar shares, “His work calls for quiet contemplation, encouraging an appreciation of the delicate interplay between nature and human experience.”
To this, Baruah adds, “While carving I relive my experiences and this process creates a peculiar attachment between each frame and myself. The connection is related to my emotional interpretation and atmospheric transformation on the wooden surface. I am very conscious of the origin of the work and thus employ this realistic approach, imbuing modern photographic technologies into my imagination and skills. I relish my involvement with each landscape along with the ongoing spontaneous activities of creation. The third part of this series explores the relationship between humans and nature. Human dwellings are already cropping up within my landscapes, just as they now grow within the landscapes of my youth.”
Known for his postmodern approach towards landscape art, Baruah ably builds an attachment between the place and himself through his works. “While engaged in his meticulous carving process he re-lives his emotions and memories connected with the forests, creating an intrinsic attachment between the frame and himself. His works are open to emotional interpretation and atmospheric transformation as he extracts images from the wood. His emotive involvement with each landscape moves the works beyond being mere representations of photographs. Instead, they open up a new dimension in the context of printmaking,” says Kakar.
In curator Waswo x Waswo’s words, “With this new body of work, and this new exhibition, Chandan wants to speak to us through his eyes rather than his ears. His wondrously elaborate renditions of Northeast landscapes are still a main subject, but intrusions have crept in: shacks, bulldozers, unfinished construction, trucks collecting garbage, and chain-link fence. People, too, make a first appearance in Chandan’s oeuvre; representatives of the marginalized. This is not only an expansion of subject matter, but also the maturing of an artist, whose draftsmanship, technical skills, and hard work were never in question. Now, his visualizations powerfully lay claim to a more deeply aware social and aesthetic ground. Chandan’s works still seduce us with the sublime, but he has now both opened his ears and expanded his eyes. He has also opened his talents and refined them. There is beauty here and also ugliness, made present via exquisitely crafted woodcuts. Are they in harmony with one another? Chandan Bez Baruah asks us to consider this deeply and find the truth within.”
Kakar further summarizes the appeal of Baruah’s artwork by sharing, “Chandan’s ability to translate the chaotic beauty of Assam’s undergrowth into meticulously detailed woodcuts is truly remarkable. His work not only showcases his extraordinary craftsmanship but also his deep connection with the land and its history. By presenting these scenes through his eyes, we are given the opportunity to experience the serenity, the conflict, and the rich cultural tapestry of Northeast India in a way that is both immersive and enlightening. This exhibition is a testament to Chandan’s talent and his unique vision. We invite art enthusiasts and nature lovers alike to witness the profound beauty of ‘Elsewhere in Northeast India’ and to engage with the silent revelations that Chandan so eloquently presents through his art.”
Noor Anand Chawla pens lifestyle articles for various publications and her blog www.nooranandchawla.com.