An integral part of our modernist movements, Indian print making, suffered a major setback over the last ten or fifteen years when the demand for ‘paper’-based works hit an all time low. Due to its confusion with commercial printing and dependence on machinery, this particular medium of art took a hard hit in terms of visibility too. However, over the last few years, the downturn of the market has created a space for various discourses to come to the forefront, one of them being the history and present practice of print making.
"From here, it will be interesting to see the way young artists take the legacy of print making forward. Art is an integral part of human societies and exists in many forms — not just within the items that are showcased in galleries. From prehistoric times we know that man has turned to artistic and aesthetic expression to record and document happenings, to beautify spaces, and to extend religion, philosophy and other knowledge systems that were developing simultaneously. Today too, though the relevance of art is somewhat modified, it still remains a conscious (and unconscious) record of the real world around us, of the dreams and anxieties of individuals, and the transformations that are occurring globally. It reflects the subtle realities that often do not get recorded in history books, or in the media, because artists are always responding to their times — whether in escaping into surreal and abstract imagery, or portraying it in hard truth," said Lina Vincent Sunish who curated the ongoing exhibition titled Between the Lines: Identity, Place and Power (selections from the Waswo X Waswo Collection of Indian print making) at National Gallery of Modern Art.
The Waswo X Waswo collection spans a physical calendar of over ninety years, a period considered to be the general time frame when print making existed in India as a fine art and medium for artistic expression. Set against the background of print making practice and history but not bound by chronology, the exhibition explores the works for their imagery, expressive qualities and socially reflective stances of the individual artists. While some of the works are stark reminders of a simpler time where mankind strived to attain inner peace; others portray the harsh realities of life. "The project began almost two years ago, and it has been an organic process of understanding the collector’s choices, engaging with the prints and researching the many layers that enter into the discussion. The compilation traces almost a hundred years and allows for a wide range of investigations into the transformations in India as seen through the artists’ eyes. I am a print maker myself, and it gave me an advantage of being able to appreciate the processes involved in creating the works, and provided direction to the curatorial framework. I decided to use the diverse imagery, and the socially reflective stances of the artists of various generations as the central binding theme, rather than concentrate on geography, chronology or hierarchy of the artists," said Lina, who believed that through this project she further understood the varied interpretations that could be generated from a single work of art.
For Waswo, the realisation that he wished to share his collection with the public dawned upon him two years ago. Apart from historical prints by artists like Somnath Hore, Laxma Goud, Haren Das, Mukul Dey, Anupam Sud, Bhupen Khakhar and Chittaprosad Bhattacharya; his collection also has some extremely good work by the new generation of Indian print makers including artists like Soghra Khurasani, Maripelly Praveen Goud, Kurma Nadham and Jagadeesh Tammineni. Waswo has always loved works on paper and especially the look of fine art prints. Perhaps part of this attraction goes back to the fact that he once worked as a printmaker in his youth. "I understand the complexities and the difficulties of print making and appreciate the effort that goes into making a really good etching or woodcut. People often confuse reproductions with fine art prints. A reproduction is basically just a printed photocopy of a pre-existing work, such as an oil painting. I would never collect those things. The fine art prints I collect are original works of art that do not exist in some other medium. They are handcrafted by artists to exist solely as woodcuts or lithographs or etchings," said Waswo who felt that different kinds of art serve different purposes, but in general, art helps us to think deeper and more profoundly.
According to him, ideally good art expands our awareness. It can instil a sense of hope through reinvigorating our sense of wonder and excitement for life.
However, it can also help us realise the sheer beauty that is around us, sometimes in very simple things. Undoubtedly, our societies today are in desperate need of art. But, can art be escapist?
"I think that may depend on the art. Obviously there is highly political art such as the linocuts by Chittaprosad in the show. But even a purely visual treat such the woodcut by Shanti Dave, which is an abstraction of colour and form, serves to recharge us. I don't really see that as escapism. Maybe we could think of it as a very pleasant visual holiday, and holidays are needed. We need societies that will value the creativity and sensitivity of art. We need to let art affect them in rethinking their lives and environment. Art is any society's ultimate cultural treasure. It is what reflects and critiques the society's ideals, aspirations, memories and values," he said.