CHENNAI: As we enter the quaint Kalashethra Foundation in Thiruvamayur, it gives you the feel of stepping into a doorway which leads to art, music, dance and nature. Surrounded by picturesque scenery, the print making studio has a visitor,
K S Viswambara — the man who makes breathtaking prints. As a part of an artist residency programme, the recipient of senior fellowship by Government of India, is here to teach and demonstrate the art of printmaking to fellow enthusiasts.
“This is such a beautiful place and I feel at home. It has just started and I look forward to sharing a lot about the art,” he says, as he waits for the chemical coated zinc plate to dry.
After graduating with a diploma in fine arts from Kala Bhavan Shantiniketan, he has been practising printmaking for over four decades. It’s a unique art form but why print making? “My father was a commercial printer and I grew up around prints, printing press and chemical as a 12- year-old. I learnt the basics of machinery and that was my first step towards what I am now,” he shares.
When he set out to study, he chose printmaking, and under the tutelage of professor Shomnath, he learnt its nuances. From making plates to using chemicals, from etching to the final print, Viswambara loves the whole process. “I am not an abstract artist, I am an experimental artist,” says Viswambara, whose works have the depth, detail and texture that can be understoof by anyone and also inspire hardcore aficionados. Talking about the progress this art has made over the years, he says, “In my student days, during the 1960’s, aesthetic printmaking was not famous. It was commercial. But, slowly artist like Nandalal Bose and many others installed printing press in their ancestral home in West Bengal. That is when creative print making, etching and other techniques were revolutionised,” he shares.
However, like most things that begins with great spirit, print making too got neglected for some time. “Later, it was revived by artists like Somnath. A whole new set up was made from the neglected printing equipment. That motivated us and that’s when we learnt the techniques of the art,” he adds.
But, is printmaking losing its spirit yet again? “No, but it is definitely being ignored. Though it is as creative and aesthetic as painting, many people prefer paintings over prints. This attitude should be change,” he explains. “Everyone is aware about paintings and their medium, but this is sidelined. My motto is to take this art to the young generation.”
Talking about the theme he practices the most — ‘human suppression’, he says, “Human suffering and suppression is something that affects me a lot and without me consciously trying, it becomes a part of my work,” he says, pointing out to the rough sketch of a face surrounded by water. “I was disturbed by the flood in Chennai and this is the theme I am working on currently.”
Practiing and exhibiting in art shows, camps and Artist Residency programmes around the world, Viswambara has taught graphic arts for over 35 years. With a handful of premier institutions that offer to teach creative print making, he says, “Galleries, curators and art lovers should help print makers to empower this art,” he adds.
He will conduct workshops and demonstrations at Kalakshetra till February 21. For details, call 770826606.