Every person has a conscience which gives birth to art that never gets translated to reality. I use my own imagination in my work. I particularly prefer to work in Indian and Western medium. White is my colour of choice, since white expresses a simplicity which I have always attempted to portray. I have mostly worked with Human figure black. The fierce pace of the unforgiving city life is the central theme of my work. Sometimes I am lying alone in a silent world, with people passing by me in great hurry.
The artificial and overtly aggressive city life has been a major influence in my life. I am deeply attached to Indian art form. The western lifestyle which always advocates an insatiable desire for more also influences art. I have used the marks of moss on an old wall or the peeled of plaster from a dilapidated house. I have used this to create different strokes using various shades of white. However, I have always given greater importance to black..
The events of life that affect me most come alive on the canvas and provide the themes for my creations. The conviction and simplicity of the subjects add a new dimension to the paintings. Sometimes, I have no connection to my fellow human beings. But even in the seclusion of my room, away from the society, subconscious images create ripples in my mind. Even mundane images of a candle on an old chair, the dark patches on the wall capture my thoughts. Every human being today stands in a jungle of flats, immersed in a chaotic life. The festive alpanas and the simplicity of rural Bengal have been an integral part of my art.
During my early life, creating figures of dolls or statues of gods and goddesses greatly fascinated me. In the art college, I was deeply attracted to Bengali art and culture. Even though my college was in South India, I sincerely followed Bengali culture. The local Kannad culure, especially rangoli and kantha , deeply impressed me. I was drawn to the local culture (Banzara) and beautiful idols in Kannad temples. All these have influenced my work to a great extent. I have never restricted myself within any boundaries; I worked on whatever subject attracted me. Sometimes, I express the simplicity of rural life. The life in the mountains is, however, different. The simple life there is characterized by tough natural conditions, and yet the natural beauty, the diamond like sparkle of the Himalayan peaks during a full moon, leaves me spell bound.
The western culture filled me with new ideas. I have tried to combine the Indian and Western influences in my works. I have portrayed legends of Hindu gods and goddesses to show the effect of gods on human life. The usage of colours in a painting is an art, not a science. The colour in itself creates nothing. But the combination of various colours renders an appeal to the painting. It is the nature of colour to possess in itself a mysterious entity. Just as a ideal song is composed of many notes, similarly the perfect blend of colours gives birth to a painting.
Just like God’s creation of the universe, the painting of an artist replete with the coexistence of light and dark. The use of light in a painting varies in eastern and western cultures. The interplay of light and dark is a major theme in Renaissance paintings. The natural light or Local Colour is primarily used. The painting takes everything into focus but highlights special events. The proper use of light provides brightness to colours and creates a vibrant painting.
I have reshaped the forms found in the real world to create my paintings. These forms are more evident in humans and animals rather than in inanimate objects. These forms, with adequate inclination, are most effective in portrayal of emotions such as joy, sadness, fear and disappointment. A painting thus created is therefore free from serious emotions; it is rather the easy expression of the free spirit. With its shoulders unencumbered by the burden of the heaviness of emotions, the mind enjoys a few rare moments of relaxation.
I understand my paintings as modern icons of the feminine. Although the primary role of the icon is to bring the viewer into relationship with the depicted figure rather than tell stories about him or her, I aim to achieve both in the form of opening a dialogue look for imagery that derives symbols from mythology, nature and spirituality. As an artist I neither accept myth or religion as a historical fact, nor reject it as useless. I move between those two extreme poles to explore history and its trends, trying to understand and communicate its meanings for today.
This ancient raw painting technique constantly copes with loss and restoration, reflecting the themes of my imagery. For me the beauty of an encaustic painting lies in its uniquely transparent layers that are catching the light. The painting comes to life from within, giving way to luminous and lush colors that are sealed in a jade-like surface.
The huge part of nature is still a mystery for us and yet to be unfolded. That is why my pictures are crowded by such strange creatures, which are neither human beings nor bird not even fish. But the have mobility. They appear in my paintings with their eternal life. In conscious and subconscious moment they break the barriers of time and exist in darkness. They gather in greed of fruitful tree, they are aggressively vigilant to protect their belongings and they want to get hold of all sorts of pleasure. Actually question of existence is above all. The brutality of human beings can never be hidden by colorful dresses
When a current event makes me anxious, I look behind the past and try to bridge present with the past; which has been reflected in my present canvass. These canvasses speak about my principle, ideology, tradition and pride. My personal feelings, emotions, contradictions, pain and pleasure and my mental state of affair at the time of paintings all have been reflected in the canvass.
The main theme about drawing picture came from scarcity of accommodation due to overpopulation and how it has introduced mean – minded life-style. As such in order to survive we are being compelled to overlapping life style instead of mutual co-existence.
The elements or objects of picture composition has in the past, exists in the present and it will remain in future. But here they have appeared in a new style according to my way of thinking. I find myself successful in life when the pictures find their lives in the canvass.
Keeping the way of my paintings that have started since my childhood days contain still today but somewhere I have given a modification to my art , through my dedication ,motivation and createvity and I fully believe that it can’t be called a juxtapose or paradoxical .Even when the world is changing , somewhere , somehow,I have to change my viwes in furure.It is the fact that we should consider because the paintings are created based on the circumtances.I do not give too much importance the grammar in my creation specially because I believe that behind the creation there is no too much importance of grammar . Art is such a way by which we can express our thoughts. As example we can draw here that, when the very first time a child calls mother “MAA” (in Bengali language), is it tag on any grammar ? Or when a bird sing a song with its own way, is it follow any such grammars ? thses are totally grammarless. But every body loves these , So there are various tipe of examples can be raised here. As a modern artist I can say the modren era of art is not classified in to any esam or verge.
As a painter being inspired by society I try to put the matter of things remained society in my canvas. Though I observe and enjoy them from my innerside as a result I find various type of characters in one person and consiqunently as a symbol of tiger, dog, cat, lion etc reaval in my art. Even it may be a nonsense thinking that takes place in my canvas as an art. Also I realise the fact: Time does not wait for any one besider Inspite of progres and prosprity of the world I feel a humorous relationship is being made with each other when in terms of man is concerned. Besider thinking humor I strongly believe that too much nonsense feeling of mine some where it creates a sense.
Countless events and things continue to take place all through the journey of life and some of them stay to manifest the life with something curious, momentous, pleasurable or unpleasant too. Sequence of events keep on moving as the river ceaselessly flows down. River moves on zigzag, sometimes, it goes down to murmuring flow aside or it goes forward overlapping its direction of movements. So, either be things on vision or be they beyond sights, all human beings are directed to all times to confront and consider new and newer things by their own perspectives and view points that contain stories of each day’s smiles and weeps, ups and downs in the succession of events of natural origins, man made or events of occupational and individual life.
Some of these rise as self complete, momentous keeping safe space bright, alive in the memory till the last day of life. They at times, become prime afresh and lively with various forms and new meanings.
While carrying on reminiscence with part or whole of the past, sometimes, there leaves little distance, shorter distance or a gap or variation in the transition of sequence of events, one of the two momentous things go overlapped or they, at times, get uniquely mixed in a astonishing metrical rhythm. Such things are found in my work of paintings as MIX and OVERLAP of Lines, Forms, Motifs, Shapes, Style and Colours, exactly to the tune of recalling the past.
Being on the journey, life is exactly like a river of violent current that makes headway through the land of difficult upward and downward approaches, Land of rough pebbles and fertility, green crop-fields even dense habitat. Life is really a river – a restless traveler without stop-over.
Experiences equipped with multiple characters of events through the journey flash back in my mind, thoughts and imaginations. The manifestations of the journey prevail here in the painting. My paintings are the humble reflections and representations of one or more pieces of thoughts, imaginations inherently carried with my journey.
Memory is neither dispossessed nor thrown out. What I saw, felt by cognition in life is a mine of thousand events with diverse forms, different tastes. My paintings open to view to tell one by one by picking out of the mine. My canvases speak in the language transformed into the Forms and Colours. What I picked up thorough the journeys have been expressed by using different colours in a very stable and well- set manner.
The hot events being momentous in the restless hours and days come to have reduced the intensity of HOT and MOMENTOUS character as a result of reminiscence. So, those days’ experiences involving events of restless hours has become composed, pacified, mild, so the Language of my canvas has been expressed and manifested in VIBRANT COLOURS.
Knowingly or unknowingly, some incidents or individuals that are not involved in my system of daily working, appear sometimes, I feel it to have appeared or may appear that I have to face, adjust and sometimes to change myself for the time being. Those things and their reflections have been shown in my painting in the form of shadows.
I always loved to work on spiritual subjects. My previous works were on Teja or Cosmic energy. Those works were more towards abstraction. Now I stared with Kali series. Bengalis are more associated with Kali. She is the Shiva Shakti. In scientific term she is kinetic energy of the universe.
For me kali is hidden in very soul. She is dynamic and responsible for every action. Thus she is playing Role of contemporary women. Thus I sometime create satire for the human civilization with Kali figure.
Ram Kumar Manna was born in a village in rural Bengal. He grew older by observing rural traditional folk arts and hand crafts depicting Puranic (mythological), Folk and Vedic god & goddesses, by professional rural artists. He was actually inspired by the art works produced in his neighbourhood. The primary lessons of art and beginning of art sense was inseminated from there as a result in his matured artist life.
All his art works are the outcome of direct influence and representations of his childhood’s own eyed experience. Ram Kumar did not keep himself confined to mere imitate the rural professional artist but he improved and developed his art works of terracotta assimilating his own cultivated colourful imaginations depicting Puranic Gods-Goddesses Shiva, Ganesha, Durga, Laxmi, Saraswati, Chandi and folk God-Goddesses Sitala, Manasa and so on and all such his works are very exceptional and independent in genre. In fact his works in art domain of terracotta extraordinary and generally blended with stories of Puranic and folk God-Goddesses are probably extraordinary and such topics are not found in general visual art culture.