脑袋开了花，城市发了芽 | Digbijayee Khatua
欢迎来到木牙Make Unique Young Arts，让我们来探索微缩的城市山脉～
People need a life and the city needs to develop. The size of the city is decreasing because of the spread of people. Gradually, we find that the trees are shrinking bit by bit due to the development of the city which is similar to our body organs are constantly struggling with age and mental pressure. Those expanding buildings form a new mountain range - the City Range.
和其他传扬保护环境的艺术家不同的是 Digbijayee Khatua，来自印度的他从生活，文化，人际关系，和帕塔(Patta)风格（印度传统绘画）等多重角度描绘下了他的城市山脉。
Unlike other artists who preach environmental protection, Digbijayee Khatua. He is from India and describes urban mountain ranges from multiple perspectives which include life, culture, relationships, and Patta (traditional Indian painting)style.
His courage and enthusiasm for experimenting with different kinds of media fascinate us. We are very lucky to have Digbijayee Khatua here in MUYA. Let's listen to his perception of different cultures, his impression of thoughts and life brought by the changes of times, his original intention of creation, his perception of life, and his explanation of the thoughts of his works.
Digbijayee Khatua 于2015年在新德里大学艺术学院获得艺术硕士学位，2012年在B. K.艺术与工艺学院, （Bhubaneshwar, Odisha） 获得视觉艺术学士学位。最近，获得了一些奖学金，奖项。在印度和国外的团体展览。2015-2016年获得Lalit Kala 学院研究资助奖学金在新德里的Garhi工作室。目前工作和生活在新德里。
Digbijayee Khatua received a Master’s degree in Fine Arts in 2015 from the College of Art, Delhi University, New Delhi, and a Bachelor’s degree in Visual Arts in 2012 from B. K. College of Art and Crafts, Bhubaneshwar, Odisha and. Most recently, He has received some Scholarships, awards, and group exhibitions in India and abroad. Research Grant Scholarship Lalit Kala Academy, Garhi Studio, New Delhi, 2015-2016. and currently based in New Delhi.
Working with common themes such as time, isolation, and transition, I am interested in the fragility of relationships and people’s awkwardness in trying to coexist and relate to one another. To that end, I create miniature like detailing to serve as evolving still life’s from which I paint detailed narrative paintings. For my most recent series of paintings, I built a diorama of a fictional rural landscape and gradually developed it into farmland and ultimately, a town. Beginning with a square of Styrofoam, I carved mountains, valleys, rivers，and ponds, and propagated a verdant landscape with of wire and foam trees.
Artistic sojourn from my native place, state Odisha in east India and my current place of practice in New Delhi capital of India.
Village reminiscing days when I was a child and would accompany my mother, a teacher at Anganwadi (playschool), to create traditional patterns with Golam(rice powder) on the walls of our home. My father, a history and literature teacher, to ancient monuments in Odisha, a place historically and culturally rich with temples, caves, and Pattachitra (Indian traditional painting) art style. In oeuvre, one finds allusions to the Patta technique, and in its mythological storytelling, fixed form, robust hues, and floral motifs render a contemporary take on the style.
My practice is vastly influenced and marked by my shift from Odisha to Delhi and personal encounter with the ever-changing landscape, evident in my recording of minute details – both real and imagined. Fusing stylistic elements drawn from miniature paintings and the traditional Patta paintings (Indian traditional painting). The idea portrayed the value of image reading and the sense of diversity between Machine and urban pictures. In the painting, it gives the scene of man-made clouds and deserves the costume of urban.
There are many different levels of divisions in your paintings. Do these divisions appear unconsciously, or do you deliberately?
Yes, I have liked to deliberately work at different levels of division in my work. Because I grew up surrounded by folk paintings and traditional motifs on the house walls of my native village. Till that time my inspirations were limited to Orissan temple architecture and Patta paintings. My practice was immensely influenced and marked by my relocation from Odisha to Delhi for my higher studies. The personal encounter with the ever-changing cityscape is very much evident in my recording of its minute details, both real and imagined which I fuse with stylistic elements drawn from miniature paintings and traditional Patta paintings.
➤ 木牙MUYA:人物在您的作品中占据了很重要的地位。在您的画作中人物的头像都用花来替代，为什么要遮住人的脸庞又为什么是花呢？而在您发给我们的画 《The Fat of land》中却回归了人原有的模样，是有什么特殊的原因导致了画作的改变吗？
Characters occupy the main position in your work. In your paintings, all the heads are replaced by flowers. Why do you cover the faces, and why is the flower? But in the painting you sent to us, "The Fat of Land," it returned to the human being's original appearance. Is there any particular reason that caused the change in the painting?
“The Fat of Land”的创作完成了锁定时间，展示了回顾传统形式的画作。类似于多层彩绘纸的精美风景实际上是水洗彩绘技术的结果。这幅画起源于在后来的阶段中通过细致而复杂的技术施加水彩画。这幅画需要很多步骤，并且需要几天到两周的时间才能完成。绘画主题的灵感是最耗时的活动，因为一个核心概念要花上几年的时间才能成为一个实际的概念。
These two different ways of the human mind, some heads replaced by flowers and some machines. living in the cultural capital Delhi, I capture the splendor of a city along with the swarm that I used to come across in my day to day living. How the city is affected by the unnatural elements and pollution, where everybody is quite indulged and fascinated to its artificial magnificence. During my process I used to compile some stories in my native language (Odiya) which is an integral part of my image-making procedure. Sometimes I bring in characters from my past to create a drama and sometimes they posit relevant questions from the society and issues concerning us at present.
“The Fat of Land” work done that lockdown time showcases format paintings looking back at the traditional forms. Beautifully landscape resembling multi-layered painted paper is actually the result of a wash painting technique. The painting originates from on which the watercolor is applied at a later stage through a meticulous and complex technique. This painting requires numerous steps and takes from a few days up to two weeks to complete. The inspiration for the subject-matters of the paintings is the most time-consuming activity though, as it takes up to a couple of years for a core idea to become an actual concept.
Your paintings are based on literature and drama. What do you think about the difference in narrative among writings, paintings, and films?
I think all are different mediums but relationships with emotion. I consider myself to be more from a literature and drama background rather than fine art; because my father literature teacher with writer that’s why as such, I have a long list of ideas and concepts as an artist, artisan, writer and movie maker which in turn allows me to provide an alternative way of understanding life around me. It also widens my interest in processes and approaches in contemporary art Practice.
When you start to paint, how did you structure from your story to paint?
I have been observing in my day-to-day life, how the city life is moving with unnaturalness, illusion and pollution but everybody still feels lively with man-made beauty and complications. The pictorial surface in my works gains various perspectives and layers browsing through compartmentalized renditions of the city. I would like to present its cons, which are affecting our human lives. Along with it, side-by-side, I will be developing a work, which is the Artist Diary.
Most people said the artist’s works are from their emotional release. I am interested in how you think about this common sense?
I was interested in art from childhood. I am attracted towards people, ideas and concepts that provide an alternate way of understanding life around me.
21st-centur contemporary art is a burgeoning field of practice, research, and publication, making it an incredibly dynamic field of study. Many important topics have been resonating in the new century and inspiring new thinking and scholarly debate, such as the surge of bio art in response to scientific research in the life sciences, and the critical theory known as relational aesthetics that developed in response to an increase in art that invites viewers’ participation and interaction.
“ As we go further into this modern technological age, we have become more and more like machines,” what you wrote in your statement is interesting. Have you ever used TikTok, what do you think about TikTok? What kind of role do you think it plays in Indian Internet communication?
With my rural background, the appeal of the urban lifestyle and the metropolitan has instigated in me the desire to see the city architecture, its view, history, design, culture, and the mundane day to day life in a city. I'm mostly influenced by the complex systems for sanitation, utilities, land usage, housing, and transportation. A big city or metropolis usually has associated suburbs and exurbs and the interwoven relationship and juxtaposition of differences overlapping one another to form a throbbing metropolitan life that fascinates me.
As we go further into this contemporary age of technology, we have become more and more like machines. When we do something, we don't harbour any particular emotions or attachments with the work, we just go on doing it without looking into different human aspects. The Machine is a major component for the city dwellers. The idea is to portray the value discerning images and gauging the diversity between machine and urban picture. It carries the aesthetic, beauty and grisly of science and technology.
Does the epidemic affect your studio and paintings? What changes happen to your industry？
The COVID-19 pandemic has affected all kinds of industries and businesses, and the arts are no exception. For many artists in India, the virus has caused cancelations of shows and events and led to the loss of income.
COVID-19 has already rapidly changed the way that everyone including artists and creative freelancers this year. In an effort to understand how art careers are changing due to the Coronavirus.
Are you doing any other work besides a painter? The source of the artist's income has always been a secret that is difficult to reach. It is convenient to share about how you support your art career ？
No, I am doing my work as a freelancer artist. Some works are sold in years and sometimes very difficult to manage studio rent, art material and family. I have been doing work with some gallery’s in India and some personal art collectors collecting my work and helping me continue my art practice.
"Not one particular book or movies, I have influenced a long list of ideas and concepts as an artist, artisan, writer, and movies. I'm mostly influenced Indian traditional art, like miniature painting (Orisan Patta Paintings) and I have attracted people, ideas, and concepts that provide an alternate way of understanding life around me.
My practice as contemporary artists in India embrace traditional techniques of fiber art but use them to create unorthodox forms or address current social and political issues. Along these lines, then partially obscured the embroidered images with gestural painted brushstrokes.""
✤ 工作室（Studio):Studio Practice