WHAT ARE CHAKRAS AND HOW DO THEY RELATE TO MY ARTISTIC PROCESS?
What are Chakras? And how are they infused with the Japanese Art of Kintsugi?
As my artwork involves a fusion of the Japanese Art of Kintsugi and the philosophical wisdom of the Human Chakras, I wanted to take the opportunity to explain what Chakras are, their history and how I relate the spiritual energies into my paintings through the use of color.
The concept of chakras
The word "chakra" is derived from Sanskrit, the ancient language of India, and it translates to "wheel" or "circle." The idea of chakras is deeply rooted in the spiritual and energetic understanding of the human body. Chakras are conceptualized as energy centers within the human body, associated with different aspects of physical, emotional, and spiritual well-being. These energy centers are often depicted as spinning wheels or vortexes along the central axis of the body. There are 7 major chakras in the body.
The earliest and most significant references to chakras can be found in ancient Indian texts known as the Vedas and Upanishads, dating back over 3,000 years. These texts describe the subtle energy channels (nadis) and energy centers (chakras) within the body. The chakras are often associated with the flow of prana (vital life force) and the overall balance of one's physical, mental, and spiritual well-being.
What do Chakras have to do with color?
The connection between chakras and color fields is rooted in the belief that each chakra is associated with a specific color that represents the vibrational frequency and qualities of the energy it governs. This connection is visualized in practices like meditation, visualization, and energy healing. During these practices, individuals may focus on specific colors associated with each chakra to balance, cleanse, or energize these energy centers. The idea is that exposure to or visualization of these colors helps bring the corresponding chakras into harmony, promoting overall well-being and spiritual development.
Fusing this philosophy with the Japanese Art of Kintsugi communicates the essence of healing and renewal through art.
In our lifetimes, we all experience different challenges that pose a range of difficulty depending on the challenge and the person.. A chakra’s energy force can become blocked as a result of these challenges; thereby creating a feeling of being unwell emotionally and/or physically.
My artwork provides inspiration to reflect and/or meditate on the chakra(s)/ parts of the body where the energy centers are blocked.
WHAT ARE THESE CHAKRAS CALLED AND WHERE ARE THEY LOCATED?
1. Root Chakra (Muladhara)
RE-UNION
Acrylic & 23kt Gold Leaf on Wood
30 x 30 inches/ 76 x 76cm
2023
For pricing email Rajul@rajulshahart.com
Location: Base of the spine
Color: Red
Qualities: Represents grounding, stability, survival instincts, and the connection to the physical world.
2. Sacral Chakra (Svadhisthana)
Location: Lower abdomen, below the navel
Color: Orange
Qualities: Governs creativity, passion, sexuality, and the ability to experience pleasure and joy.
3. Solar Plexus Chakra (Manipura)
Location: Upper abdomen, near the stomach
Color: Yellow
Qualities: Associated with personal power, confidence, self-esteem, and the ability to make decisions.
4. Heart Chakra (Anahata)
Location: Center of the chest
Color: Green or Pink
Qualities: Represents love, compassion, empathy, and the ability to form meaningful connections with others.
5. Throat Chakra (Vishuddha):
Location: Throat
Color: Blue
Qualities: Governs communication, self-expression, authenticity, and the ability to speak one's truth.
6. Third Eye Chakra (Ajna):
Location: Forehead, between the eyebrows
Color: Indigo or Deep Blue
Qualities: Associated with intuition, insight, higher awareness, and the ability to perceive beyond the physical realm.
7. Crown Chakra (Sahasrara):
FREE SPIRIT
Acrylic & 23kt Gold Leaf on Wood
30- x 24 inches/ 76 x 61 cm
2023
For Pricing email Rajul@rajulshahart.com
Location: Top of the head
Color: Violet or White
Qualities: Represents spirituality, enlightenment, divine connection, and the integration of all aspects of self.
I hope you found this newsletter informative. As always, I love to hear comments and thoughts from readers! So, please feel free to comment!
Artfully Yours,
Rajul
What is the Japanese Art of Kintsugi?
Hello!
I invite you to view my work which fuses the Japanese Art of Kintsugi with the healing energies of the Chakras. As my work addresses philosophies of renewal behind both these concepts, I wanted to take the opportunity to provide some depth regarding each one and thought I would start with the Art of Kintsugi first.
Kintsugi, also known as Kintsukuroi, is a traditional Japanese art form that involves repairing broken pottery or ceramics using lacquer mixed with powdered gold, silver, or other precious metals. The word "kintsugi" can be broken down into "kin" (金), meaning gold, and "tsugi" (継ぎ), meaning to join or mend, which essentially describes the essence of this art form. Kintsugi is not only a technique for mending broken objects but also a philosophy that celebrates imperfection and the beauty of embracing flaws.
The history of kintsugi dates to the late 15th century, during the Muromachi period in Japan. It is often associated with a legendary tale about a tea master named Sen no Rikyū. According to this story, Rikyū broke a valuable Chinese tea bowl and sent it back to China for repair. When it returned, it was fixed with unattractive metal staples, so he decided to find a more elegant and aesthetic way to repair broken ceramics. This quest led to the development of kintsugi.
Kintsugi carries a deep philosophical meaning, reflecting the Japanese aesthetic concept of "wabi-sabi." This concept celebrates the beauty of impermanence, imperfection, and the passage of time. Kintsugi exemplifies this philosophy by turning the act of repair into an art form that adds value to the object rather than concealing its history of breakage.
One of my works: Intuition – Acrylic & 23kt Gold Leaf on Wood – 12 x 12 inches
“Intuition” was inspired by Rothko’s use of color. I delved into a textural and predominantly monochromatic representation of the 6th chakra (AJNA) also know as our third eye chakra. Its aura color is Indigo and is our window to intuition and insight. Fusing the use of this color with the art of Kintsugi, I wanted to show imperfect life experiences are still a path to wisdom. We can improve our actions after gaining further insight and wisdom as we travel through life.
Today, kintsugi is not limited to Japanese ceramics but has also been adapted and practiced worldwide as a symbol of resilience, and a means of highlighting the beauty in our own imperfections. It continues to be a powerful and evocative art form that connects the past with the present, reminding us of the beauty that can emerge from life's inevitable fractures and flaws.
There are many cmasters of this art in Japan. For those of you unfamiliar with the process and how this art is applied to pottery, invite you to view a short video via YouTube link here. Morty Bachar of Lakeside Pottery is a nationally recognized ceramicist. His studio is in Rehobeth Beach, Delaware. He applies the art in a traditionally manner using contemporary elements, such as epoxy, instead of Urushi. His YouTube video provides an elegant visual summary of the Art and how it is incorporated into his practice. In Japan, the art of Kintsugi is prominent in homes, restaurants, museums - basically in every day life. While the art of Kintsugi may be relatively unknown in the US, Morty’s artisanship provides a beautiful introduction to this timeless art and concept.
Enjoy the video and as always, I love to hear your thoughts and comments. What do you think of the Japanese Art of Kintsugi? If you are familiar with the philosophy, how have you applied it in your every day life?
With Special thanks to Morty Bachar of Lakeside Pottery
Artfully Yours
Rajul
Canvas Stories in Manhattan
Beautiful translation of Iceland Dreams b y Musical Artist, Margin Alexander of Brooklyn, New York.
It’s always an honor when I receive praise, “likes” and “loves” for my artwork I post on social media. A couple months ago, I received some praise that really kind of took my breath away.
For those of you that know me, you may recall I was heavily involved in music in my younger years. I sang (mostly vocal jazz), played the violin and the piano. While my vocalist skills far exceeded my violin and piano skills; my love for the sound of string instruments, the piano and the drums was always steadfast..
A couple months ago a musician, pianist and composer from Brooklyn, New York commented on my Instagram post where I displayed a painting I had just finished for my daughter. Named “Iceland Dreams”, Margin Alexander a synesthetic*** musical artist commented on my post with the words “a profound masterwork with a soul”.
The ultimate compliment.
This praise was followed with a request to include a projection of this artwork during one of his concerts “Canvas Stories in Manhattan” where he composes music relative to the artwork. Humbled by this request, I immediately said yes.
At 24:45 in the YouTube video below you will find the music Mr. Alexander composed as inspired by my artwork.
***Synesthesia is a phenomenon that causes sensory crossovers, such as tasting colors or feeling sounds. Some people describe it as having “wires crossed” in their brain because it activates two or more senses when there’s only a reason for one sense to activate. It is NOT a medical condition, illness or disease. It is unique connection in the brain.
"Resilience & Renewal" SOLO Show at the German Centre, Singapore until Oct 31
Schedule your personal tour of my solo show “Resilience & Renewal” at the German Centre in Singapore!
Since June of this year, I have had the honor of showing my work at the German Centre here in Singapore. It’s a beautiful project space and perfect for showing artwork as it resembles a gallery setting. Wonderful natural light and gallery-style lighting have made this a fantastic space. I am sharing some photos and videos of the exhibition.
German Centre, Singapore
25 International Business Park - 3rd Floor
Singapore 609916
It’s not too late to view it! You can schedule a personal tour of the exhibition with me Here
My artwork published in the Autumn Issue of ArtSeen Magazine!
Artwork published in ART SEEN!
I am honored to have my artwork highlighted in the Autumn 2023 Issue of ART SEEN Issue 9. ART SEEN is a publication based in the UK that highlights Artists’ ongoing projects, their studios and their learnings from experiences with exhibitions, shows, etc. It is edited by Gita Joshi of The Curator’s Salon. The publication and the 8 issues before it are available on Amazon.
My artwork highlighted in the magazine are Manipura Healing I and Healing Svadisthana, and are representative of the 3rd and 2nd chakras, respectively. Chakras are human energy centers in our bodies that correspond to specific nerve bundles and internal organs.
Inspired by the Japanese Art of Kintsugi, these paintings are 2D translations of the philosophy behind the art of Kintsugi, which include resilience, renewal and embracing imperfections to become a stronger version of the original. I apply these concepts to the Chakras (human energy centers in the human body).
In Sanskrit the word “chakra” means “disk” or “wheel”. These “disks” represent energy centers in our bodies that correspond to specific nerve bundles and internal organs. I believe the connection between emotional and physical well-being lies in our energy centers. When an energy center is out of balance, it can lead to a physical ailment in the corresponding region of the body.
Manipura Healing I (pictured below on the left) represents the 3rd chakra and is located above the navel in the stomach area. The energy corresponds to confidence and self-esteem, feeling in control of one’s life. The aura color for this chakra is yellow. The affirmation is “I can” and the element is Fire. Healing this chakra can benefit our ability to project ourselves with confidence, self-power and self-assertiveness without exerting power over others.
Healing Svadisthana (pictured in the upper right corner of second page) represents the 2nd chakra and is located 2 inches below the navel. This energy center represents the seat of one’s creativity and connections with others. When in balance, this chakra allows us to create & maintain healthy relationships. The affirmation is “I feel” and the Element is “Water”. The blue areas in this painting represent the element of water as flowing through the chakra, whose aura is Orange.
COVID, Pandemic, Reflections... The Start of A Healing Journey
As we near the official end of Summer (according to the calendar), I reflect on all that has happened the past 3 months and beyond.
We have been living in a COVID world since February/March of 2020, depending on where you were when it started. Many families have lost loved ones and friends; and I sincerely hope your family and friends are healthy and safe; and will remain so.
Suffice it to say, the emotional aspect of this pandemic has been front of mind for all of us over these many months.
This past year, one of my very close friends learned she had stage 1 triple negative breast cancer. Recalling my days in pharmaceuticals, particularly when I worked in Oncology and Breast Cancer, I knew this was one of the harder cancers to treat. I am grateful that her diagnosis came in the early stages as she has been able to recover and is on her way back to health. Unbeknownst to her, she was the inspiration for “Healing Anahata I” pictured below.
And then, I thought about all the illnesses, trauma and emotional scars the world is collectively experiencing as we go through hurricanes, forest fires, the pandemic and the political divisions within our family and friends.
Living in Japan for nearly 8 years has been one of the best experiences and learning journeys of my life. Aside from my Artistic training, I learned a lot about the culture, the food and the people. I learned approaching hardship with grace and to recover from that hardship with resilience.
The Japanese Art of Kintsugi is an Art that taught me these concepts in deeper details. Resilience is something we must choose daily; not just in response to major hardships, but also from minor daily frustrations, annoyances, and infractions. I compare it to training for a marathon where you need to build endurance. The Pandemic has demanded the “do or die” situation, literally.
In its physical form, the art of Kintsugi is where tree sap and gold splicing are used to mend broken pottery. Nothing is wasted, all is preserved albeit in a different form. This represents an evolution of the form that encompasses the breaks and imperfections; elevating it to a form of beauty and re-purposing it to an Artistic sculpture to be admired and cherished. You can find an article I wrote about it here.
It is the basis for one of my collections and my newest series called “The Kintsugi Body”. In my desire to communicate spiritual peace and calm through my artwork, unbeknownst to her; my friend inspired me to paint “Healing Anahata I”. In Chakra philosophies, Anahata represents the 4th chakra, the Heart. The 4th Chakra also represents physical impacts to the Breast/Chest area.
Healing Anahata I - Mixed Media on Canvas - 23 x 30cm/9x12 in
“Once I overcame breast cancer, I wasn’t scared of anything anymore” - Melissa Etheridge
illness/disease/cancer doesn’t have to define anyone; but we do have to accept that it is a part of us. In many chronic diseases and long-term global health emergencies, stages of healing will oscillate. When it seems we’ve taken 3 steps forward, we have to take 5 steps back. Still, we can recover and evolve as a stronger person, family and/or community. While the vision of our life will have to change to account for this part of us, it can also be a catalyst for a new improved version.
As I think back to my 20 years spent in the pharmaceutical industry, I had the pleasure of working across many different disease states, including pain, epilepsy, cancer, urological dysfunctions, among others. With a role in strategic analytics, I had the benefit of first-hand information from doctors, patients and caregivers regarding the burden these and other diseases placed on the patient, the caregiver, the family, the community and society.
Quite a few common themes emerge from this time in my career.
1. Patients worry about the burden placed on family members.
2. Depending on the disease, patients and/or caregivers feel a significant degree of loneliness and isolation – especially when support groups are not easy to attend or available.
3. Whether It’s migraines, back/joint/hip pain, a broken arm/leg/wrist, epilepsy, cancer, depression, anxiety, ADHD; the self-description of the patient by the patient will contain varying degrees of ugliness, weakness, burden, lack of dependence and self-loathing.
I wish to communicate an alternative vision with my Art. Like the Art of Kintsugi, the imperfections, the illness, the trauma can be mended. We can recover. Some may need more “gold-splicing” than others, but it is possible. There is hope.
I expect this is a series I will continue for some time, as it draws from my previous career as well as my current one as an Artist.
I’m proud to say that I will be presenting 5 of these artworks at the upcoming XIII Florence Biennale in Italy this October. I’m excited to see the reaction of and obtain feedback from an extended community of Artists, curators, critics and art lovers.
I invite you to browse the entire Kintsugi series thus far here
Until next time,
I wish you and your family health, wellness and calm… and I leave you with a few more artworks in this collection.
My very Best,
Rajul
As Always, I love to hear your thoughts! Please do leave me a comment below. If you are interested in obtaining these or any other works; or wish to engage my artistic talents in a commission, please email me at Rajul@rajulshahart.com
Reconstruction - Mixed Media on Canvas - 61 x 91cm/24 x 36in
“After fear, after grief comes reconstruction” - Anonymous
Healing Vishuddha I - Mixed Media on Canvas - 23x30cm/9x12in
“Cancer is a word, not a sentence” - John Diamond
Reclamation - Mixed Media on Canvas - 61 x 91cm/ 24 x 36in
“An injury is not just a process of recover, it’s a process of discovery” - Conor McGregor
COVID-19 & The Japanese Art Of Kintsugi
Many of you know that I lived in Japan for nearly 8 years. It is where I studied Art and started my career as an artist. Now that I am living in Singapore, there are so many memories of Japan that I miss and get nostalgic about. It is an artistic heaven…
The Japanese Art of Kintsugi
Many of you know that I lived in Japan for nearly 8 years. It is where I studied Art and started my career as an artist. Now that I am living in Singapore, there are so many memories of Japan that I miss and get nostalgic about. It is an artistic heaven.
To live in Japan is a uniquely aesthetic experience. Japanese hospitality (Omotenashi) leaves one feeling like royalty. Other aspects of Japanese culture which influence all aspects of daily living include Wabi-Sabi, Mottainai and Mushin. Wabi refers to transient and stark beauty. Sabi refers to the beauty of natural patina and aging. Mottainai is an expression of regret at waste. Mushin is the need to accept change. There is also a belief that everything has a life; Whether it be a teacup or a stone by a waterfall, every object has a Kami (spirit).
In Japan life imitates art and art imitates life. The two concepts are intertwined in a symbiotic relationship. The Japanese art of Kintsugi is the perfect example of this.
Kintsugi
Kintsugi or Kintsukuroi is the art of mending broken items. Using adhesive and gold or silver metal; a broken piece of ceramic/pottery is glued back together along its break lines. In other cultures, a chipped teapot or broken bowl would often be thrown out and a new one bought to take its place; thereby “saving” the function of the broken item, rather than the item itself.
Broken teacup to be repaired
Photo credit: www.bestlivingjapan.com
In Japan when a piece of pottery is broken, it is the item itself which is repaired. Not only does this preserve the function for which the piece was intended; but it also adds an element of beauty that was not seen before. A cup which serves as a vessel to transfer delicious tea; a bowl which serves hot, steamy Ramen; and/or a ceramic structure to display the delicate brushes an artist uses for painting are “reborn” into stronger, “wiser” and more beautiful forms of themselves.
Repaired Teacup
Photo credit: www.bestlivingjapan.com
Inspiration
There is a purpose for all the background. Living in these “COVID times”, many artists have used time in isolation to focus on their art. I am no different.
I have quite a few paintings that I have put to the side that don’t “work” and I consider to be “damaged goods”. With the advent of the COV-19 pandemic, I have been looking for ways to inspire through my artwork. I wanted to adapt the art of Kintsugi with my paintings in light of what this pandemic has shown us regarding the human race and climate change. I cut up my old paintings on canvas, gathered up acrylic skins left over from previously poured paintings, used new acrylic skins and glued them onto the wood panel using acrylic medium. Cracks are filled with 23kt gold leaf and/or silver leaf – much like a kintsugi artist does with broken pieces of pottery. Bits of gold leaf to mimic the “Shards” of broken earth are applied. In a technical sense, it is a 2D visual of the Art of Kintsugi.
Personally, my hope is to offer a depiction of the Earth mended and inspiration for humans to see that it’s possible to enjoy an Earth more beautiful than before – if we take steps to heal it.
Kintsugi I, Acrylic & 23kt Gold Leaf on Wood Panel, 16 x20″
Kintsugi II, Acrylic, Canvas, 23kt Gold Leaf on Wood Panel, 16 x20″
Kintsugi III, Acrylic, Canvas & 23kt Gold Leaf on Wood Panel, 16 x 20″
“Kinstugi Earth I” was a finalist in the “3rd Annual Colors” online Art Exhibition at the Contemporary Art Room Gallery for the month of April
“Kintsugi Earth I, II & III” were all accepted as part of the “All Planet Earth” Contemporary Art Gallery International online Competition.
“Kintsugi II” has been accepted as part of the 29th Annual International Society of Experimental Artists Exhibition this coming August. The show was going to take place in Alberta, Canada, but due to the pandemic it will be an online show.
Please do check my website for updates and new artworks. In the time of COVID-19, the lock-down here in Singapore has allowed me ample time to work on new ideas, experiment with materials and self-critique along the way. As always, I love to hear your thoughts and welcome your feedback on any of my artworks. And of course, if you are interested in acquiring these or any of my artworks, please email me at Rajul@rshah-studio.com
Best Always,
Rajul
Art & Life In The Time Of Corona
Two months ago (today is March 30), even just 4 weeks ago; I was looking forward to a Spring Break and Summer vacation with each side of our family. Living in Singapore, with family spread across the US, including my two older children in the NYC area – we look forward to the times when we can gather again. I never thought that in as little as 4 weeks, all these plans would change; and we would be in the midst of a global pandemic…
Two months ago (today is March 30), even just 4 weeks ago; I was looking forward to a Spring Break and Summer vacation with each side of our family. Living in Singapore, with family spread across the US, including my two older children in the NYC area – we look forward to the times when we can gather again. I never thought that in as little as 4 weeks, all these plans would change; and we would be in the midst of a global pandemic.
Of course, we all knew a “Pandemic” was always a possibility. Futurists, political, medical, climate and intelligence pundits always warned of global crises such as this – along with Super Volcanos and the “Big One”. However, this was something placed outside our reach when we planned for events impacting our daily lives.
And now we are here; in the midst of a global COVID-19 pandemic. Emotions range from anxiety, anger, annoyance, exasperation, frustration and grief. Almost all of the global population is working and/or schooling at home as we shelter in place to varying degrees by country. Stock markets and economies are at risk as the global supply chain is disrupted and workers are laid off due to lockdowns and loss of business.
The fact is – with the exception of professional art collectors, It is possible that the Art market will see a decrease in sales for at least the next year to 18 months. Most artists hold a day job to pay their bills. I hope my fellow colleagues are able to survive economically during these exceptional times.
So, what do we – artists – do? Given all the sad news around us, we have the unique ability to inspire; and create art that offers hope and/or a peaceful escape. We have the time to innovate and that is what we should do.
For most people, working from home or alone on a daily basis is a relatively new occurrence. For an artist – not so much. If anything, we probably retreat to our studios more often to get away from everyone else who is now at home!
For me, my studio has provided a creative escape from the daily news and anxiety. With most leisure venues and children activities closed down, it has been easier to allocate blocks of time to creative pursuits in the studio. There is no “pressure” of a show in the near future. I am forced to slow down, take my time and focus. I am taking advantage of this to “play” and experiment more, to self-critique my work and make changes. I have also taken advantage of the time to enroll in some on-line learning and creative coaching/mentoring.
Having the extra time has also allowed me to finish up a couple previous works such as the ones below:
Experimenting with Washi Paper is something I have wanted to do for a while. Having this time has allowed me to do just that. I’ve coated Washi Paper with gold leaf, sealer and primer – it is ready for layers of paint and I plan to experiment with Acrylic Inks.
Gold Leaf on Washi Paper Ready for painting!
Within all of this, I have been inspired to develop a new series of paintings, called “Kintsugi Earth”. Going back to my time in Japan, I had taken part in a workshop to understand the Japanese art of Kintsugi.
Acrylic & 23kt Gold Leaf on Wood Panel – In Progress
I will offer greater detail regarding this artform in a future blog, but the short and quick definition referenced by Wikipedia: “the art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver or platinum”. Philosophically, it treats the breakage and repair as part of the history of the object.
Stay tuned as I continue the creative journey and experiment across mixed media and “play” with the Kintsugi theme a bit more!
As always, I love to hear your thoughts. Please feel free to leave comments below!
Artist Settling In A New City
It’s been about three months since we arrived in Singapore. And it feels like I have been in “moving mode” for 10 months. As an expat with children, even though my spouse starts a new job in a new city – we stayed behind to give our son a chance to finish 4th grade in Tokyo to make it a smoother transition for him…
It’s been about three months since we arrived in Singapore.
And it feels like I have been in “moving mode” for 10 months. As an expat with children, even though my spouse starts a new job in a new city – we stayed behind to give our son a chance to finish 4th grade in Tokyo to make it a smoother transition for him. It also gave me an opportunity to figure out how to “wind down” my art business in Tokyo and make a plan to “wind it up” in Singapore. First thing I did is to make sure I used up as many supplies as I could while in Tokyo. Second thing I did – make sure to purchase art supplies I knew would only be available in Tokyo!
So far, Japan is the only place I know where they sell colored silver and gold leaf… even the supplier I source my silver and gold leaf from in New York sources a significant amount of their leaf from Japan. The second thing that I wasn’t sure I would find immediately in Singapore are Japanese sumi-e brushes. While Chinese brush painting is the mainstay oriental brush in Singapore – I wasn’t sure if the Japanese sumi-e brushes I was accustomed to would easily be available in Singapore.
Knowing that I would try to meet/visit different galleries/ gallery directors in Singapore, I painted a series of smaller pieces over the summer – 8 x 8 inch wood panels that I could easily pack in my luggage.
As an expat-spouse and mom; setting up my new studio was last on the list of rooms to set up. But, 10 days after we moved; the studio was ready! And I was very excited to have a newly commissioned project to launch myself into.
As we know – finding our way in a new neighborhood means finding a new grocery store, drug store, gas station, beauty salon, etc. It’s no different for an artist. Moving from Tokyo to Singapore not only meant different art supply stores; but also has the potential to transition to different art supplies and products. My usual acrylic oil paints are not as easily available as they were in Tokyo; and in the case of the oil paint I use – available in one store as a special order.
I spent the first 4 weeks in Singapore visiting the various art supply stores – of which I found 6. I figured out where I can source various items, such as varnishes, different oil paint brands, canvasses, resin, etc. I also found an Art Lab where I could paint with peers and became a member. One thing that is not easily available in Singapore are large wood panels – and these are my primary substrate!
I did manage to find a hardware store, upon the recommendation of a fellow artist, that would cut wood panels to the size I needed, no matter how large. And I can special order the canvasses when needed. But as I really only work on wood panels, unless it is a commission where canvas was requested, I will be visiting this hardware store quite often, I think.
Wood Specialty Shop to source Wood Panel substrates
Fun facts about Singapore! It is city-state made up of 1 large and 63 smaller islands and home to about 5.5 million people. About 70% of the population is of Chinese origin, with the remaining 30% Malay and Indian. It is a rich diverse culture of people, food, fashion, design and.. ART! I can’t wait to explore!
It’s been an interesting first few months. I have met a few artists who have referred me to other artists – I went to a couple Art Openings and met more artists. Still – there is much to do in getting involved and introducing myself in Singapore. I’m looking forward to learning a new city, a new art scene – and most importantly, seeing how my art evolves under the influence of this diverse culture.
One of the 6 Art Supply stores in Singapore – Overjoyd
My “Go To” store for Golden and Holbein Paints
Krafers’ Paradise – great sales on smaller sized wood panels!
Reflections Of An Expatriate Artist
Just a couple weeks ago, I sat in our apartment in Tokyo watching the moving company pack up the remnants of life in Japan. We are onto our next expatriate assignment to Singapore via the USA. My family has spent 7 to 8 years here. It’s been a wonderful adventure and I look forward to our next one…
Just a couple weeks ago, I sat in our apartment in Tokyo watching the moving company pack up the remnants of life in Japan. We are onto our next expatriate assignment to Singapore via the USA. My family has spent 7 to 8 years here. It’s been a wonderful adventure and I look forward to our next one.
This was my first time as an expatriate. My children and I followed my husband’s career to Japan. With a combination of anxiety, excitement and not knowing where the adventure would lead us – we made the move. I left my career at a Fortune 500 company in Healthcare Strategic Analytics & Marketing and “made a plunge”.
Coming to Japan presented me with the unique opportunity to explore my passions. I had always wanted to devote more time to the arts. With my husband’s job secure in his assimilation to Japan and its culture; I decided to leave my 20-year career and take art classes – however I could. I thought it’s the perfect time to explore my hobbies, photography and drawing. I was accepted into the Art Program at Temple University’s Tokyo campus – but decided to forego the structured program for one that would allow me greater flexibility as a mom and trailing spouse. I buried myself in Temple’s Continuing Education and other studio classes involving photography, drawing and painting – up to 5 days per week… and instead of intensely pursuing photography – I fell in love with Painting. Still, I enjoy taking photos of people and landscapes; and combine it with my love for painting.
I have been blessed with great teachers and mentors. The detailed instruction regarding technique along with the encouragement and enthusiasm as I learned the “Art” has offered me my pathway. I hesitate to use the word success because I am only as good as my next painting; I have much to improve upon and look forward to consistent development and training as I learn to work with new materials and improve technique.
Learning Portraiture teaches us to look for proportion, shading and values in a painting. We had to download a stock photo from the internet to do this
Mohan, The Tiger. I met this guy at the Singapore Zoo. I love White Tigers and was drawn to paint him. Oil on Canvas, 80 x 80cm
The Boy, Oil on Canvas A painting of my youngest child looking out over the Ocean at Waikiki Beach, Hawaii
I enjoyed making birthday cards for my best girlfriends using what I learned in Sumi-E Class (Nihonga Japanese Brush Painting)
In our Nihonga Painting class, one method to learn is copying the paintings of the Masters
During my travels, I would take photos of landscapes. These photos would sometimes serve as inspiration for paintings
The Golden Pavilion, Kyoto, Japan Japanese Watercolor on Paper 9 x 12 inches
The Golden Pavilion, Kyoto Japan Oil & 23kt Gold on Canvas 60 x 40cm Commissioned Piece
And here we are – 7 years later – on our way to another expatriate assignment. I will miss Japan and the friends we’ve made here. I am grateful as this is the place where my art career was born. It’s been a journey – I’ve been fortunate to have wonderful teachers and mentors – and the support of family and friends.
I’ve been fortunate to count small successes from my time in Japan. Signing on with the Kitano Alley Gallery in Kobe, participating in group and solo shows and having artworks accepted as part of prominent Japanese Art Associations that sponsor exhibits of new talent in National Museums in Tokyo. It is these acceptances that I am most proud of; and most humbled with. Living in a community where English is not a first language has made it difficult to really involve myself in the “art world” of Tokyo. (I found Japanese a difficult language to learn, and in the end – I prioritized my Art). These associations are also juried by professionals who know nothing about me personally; are experts in Art and who see thousands of pieces of Artwork. They don’t know my history, they don’t know I am an expat. All they know is my name is foreign and here is my painting. So, it feels really good to have pieces chosen – and I humbly hope I can continue to be selected as my Art evolves.
I will continue my development in Singapore – exploring new techniques, colors and horizons. I am looking forward to it, and I hope you will continue to follow me as I embark on new artistic adventures.
I leave you with some of my successes here in Tokyo – thank you to my amazing senseis, Carolyn Dong (Drawing and Oil), Suiko & Shoko Ohta (Japanese Watercolor), Nancy Reyner (Acrylics), Temple University Tokyo Campus (Photography, Japanese Art and Art History) and Royi Akavia (Director of the Kitano Alley Gallery in Kobe, Japan). The Artwork below is also a tribute to them and their teachings.
Water Lillies – Acrylic & 23kt Gold Leaf on Wood. Accepted for the 32nd Exhibition of Japanese Nature at the Ueno No Mori Art Museum in Tokyo. August, 2019
Accepted for the 39th Gen-Youten Exhibition at the Tokyo Metropolitan Museum of Art
Earth & Sky II – Acrylic on Panel – 100 x 60cm
My next blog, I will return to the Part II – Inspirations from India – with 3 spring shows and moving, this had to fall to the side, unfortunately.
Until then
Rajul
ARTISTIC ADVENTURE – INDIA PART 1: THE TAJ MAHAL PALACE IN MUMBAI
This past December, I and my family returned to our roots with a trip to India. Having spent summers in Mumbai with my family and given that my husband is from Ahemdabad – they were two major cities visited on our trip – spending time with family we don’t get to see often always brings a sense of reconnection and familial bonding…
This past December, I and my family returned to our roots with a trip to India. Having spent summers in Mumbai with my family and given that my husband is from Ahemdabad – they were two major cities visited on our trip – spending time with family we don’t get to see often always brings a sense of reconnection and familial bonding. It was also the first time many members of our family met our children which made for many very memorable moments.
Aside from that – we spent time in Goa and Rajasthan, including Jaipur, Udaipur and Jodhpur. There are so many photographs and so much inspiration from this trip, it’s impossible to talk about it all in one blog. So, for this one – I am going to focus on my time in Mumbai, including our stay at the Taj Mahal Hotel in Mumbai.
Taj Properties throughout India are known for their elegance, service and tributes to the Indian Heritage. In fact, the Taj manages many Heritage Properties throughout India (that would take up many blogs). One theory is that the Mumbai hotel was originally built as a response to an incident of racial discrimination at another hotel in Mumbai. Jamsetji Tata, the founder of the Taj Mahal Hotel, was denied entry at a hotel that only accepted entry of European citizens. This was British India and it wasn’t uncommon for “European only” hotels, clubs, establishments to exist. Another theory is simpler. Mr. Tata wanted to attract people to India and improve Mumbai. Apparently, Mr. Tata had travelled to Europe and bought interior pieces for his hotel from London, Paris, Berlin and Dusseldorf. This was the beginning of the Artistic History of the Taj. https://en.m.wikipedia.org/wiki/Taj_Hotels
Today, The Taj Mahal Palace Hotel in Mumbai is home to an art collection that – to put. Works from MF Hussein, VS Gaitonde, Laxman Shresththa, Ram Kumar and Jehangir Sabavala – Indian artists whose work represents best of Indian art – and ones that capture hundreds of thousands of dollars at sale. The Taj Art Gallery was created with the intention of showcasing Indian artists.
Aside from the Gallery, the Palace Wing of the hotel also displays prominent artworks. There are 5 floors of rooms, each floor is like walking in a museum. Works range from the contemporary to the traditional. In fact, upon checking into the hotel, there is a MF Hussein painting right behind reception to greet guests – an immediate warm introduction to the vibrancy of India’s culture and the spirit of its heritage.
As I walked the floors of the Palace Wing – there were so many pieces that caught my eye. It was like I was staying in a museum. Each morning, I was greeted by inspiring colors and each night, I was put to bed with relaxing village scenes and landscapes. What more could an artist ask for?
For more information regarding the Art Collection at this hotel: http://www.forbesindia.com/article/recliner/tajs-collection-of-paintings-will-leave-you-speechless/38895/1
Stay tuned for my next blog – where I talk about the Inspiration of Rajasthan!
With Love in all things Artful,
Rajul
Reception At The Taj Mahal Palace, Mumbai India
A Close-Up Of The MF Hussein Painting
The Internal Hallway – Atrium In The Palace Wing Of The Taj Mahal Palace Hotel In Mumbai
There Were No Gallery Tags With The Paintings, So I Didn’t Know The Title Or Artist Of The Works – But Each Is Striking
This Painting Reminded Me Of The Japanese Nihonga Compositions. The Use Of Space Is Very Calming.
Another View Of The Atrium/Hallway
This Piece Caught My Eye Reminding Me Of “Van Gogh”
Walls And Walls Of Paintings! Oh My!
This Painting Reminded Me Of The Japanese Nihonga Compositions. The Use Of Space Is Very Calming.
A Village/River Scene.
The Colors In This Painting Are What I Find Most Striking. If You Could See This Without The Reflection In The Glass – There Are Vibrant Reds And Oranges In The Foreground With Warm Greens And Cool Blues In The Background.
ARTISTIC EVOLUTION
Back in August when I went to Santa Fe, New Mexico on my Artist Retreat, I spent a wonderful afternoon with Nancy Reyner (www.nancyreyner.com) and wrote about it my September blog. http://6jw.577.myftpupload.com/even-artists-need-a-retreat/ Nancy is one of my favorite and admired artists – it was her YouTube video that taught me how to apply gold leaf (or any leaf) to a substrate (a summary term for the various surfaces artist paint on, such as canvas, wood panel, etc.)…
Back in August when I went to Santa Fe, New Mexico on my Artist Retreat, I spent a wonderful afternoon with Nancy Reyner (www.nancyreyner.com) and wrote about it my September blog. http://6jw.577.myftpupload.com/even-artists-need-a-retreat/ Nancy is one of my favorite and admired artists – it was her YouTube video that taught me how to apply gold leaf (or any leaf) to a substrate (a summary term for the various surfaces artist paint on, such as canvas, wood panel, etc.).
Long story short – Nancy is one of the most knowledgeable experts I have found regarding the use of acrylic painting. Her instructional videos (available online and easy to follow for any painter, even if you are a beginner) really inspired me to experiment across different mediums to create paintings. One of the many techniques Nancy outlines in her instruction and the subject of our afternoon workshop is called “Pouring”. As far as we know – this technique has only been successful with Acrylic mediums. After spending the afternoon with Nancy and quite a bit of time driving between Taos and Santa Fe – I came back to my studio in Tokyo and couldn’t wait to “play” with the technique.
What is Pouring?
The technique of pouring is exactly what it says – you are literally pouring paint and medium onto your substrate. In fact, there is a whole FB page dedicated to Acrylic Pourers. Artists pour onto canvas, wood panels, glasses, coasters, pottery, and even make jewelry with the leftover acrylic skins made out of the paint that drips off. It is difficult to properly describe this – the best way to tell you about it is to show you (Acrylic Pouring).
I have even found a baker who “pours” icing onto cakes, hence; transforming them into works of art.
As a technique, it is not possible to predict what kind of finished product you will get. While you can certainly manipulate the direction and flow of the paint – it is impossible to know exactly which color or colors will settle in the background and which ones will rise to the foreground. This can be good or bad, depending on how much control an artist is able to relinquish.
I love it because it challenges my knowledge of color theory (which colors to put together and how they will mix). The technique also forces me relinquish any vision I have for the painting and allow it to lead me to the finished work. My last 3 paintings using this technique have brought me some nice success. Earth & Sky was chosen for the 82ndAnnual Shinseisaku Juried Exhibition at the National Art Center of Tokyo; and Earth & Sky II and Grotto of Water Lillies were both chosen for the 49thAnnual Genyouten Juried Exhibition at the Tokyo Metropolitan Art Gallery in Ueno.
Just as an example, below is a pour I did on copper leaf and a wood panel. I used a pouring medium, water, with Paynes Grey, Pearl White and Gold. I moved the wood panel around a bit to allow the paint and medium flow around the substrate and then placed it on an even, balanced surface and let it dry for 24 hours.
As the paint dried, I was observing the forms and flows of the paint and noticed the outline of what looked like a dragon fly or a dragon rising out of all the blue. The more I looked at it, the more it became clear it was a dragon. My next step was outlining the shape of the dragon so she could be seen more clearly in form – and added her eye. This piece is called The Water Dragon.
So! I am continuing to experiment and play with this technique to see where it leads me! I have already started on some initial pieces and hope to finish them by mid-January.
Here are a couple pieces in progress
I will post the finished products in a future blog!
Until then,
Rajul
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LIQUID GLASS
As promised, (a little later than I intended) the second blog about my wonderful art retreat to Santa Fe, New Mexico this past August. I spent an afternoon at the Liquid Light Glass Factory in Santa Fe. https://www.liquidlightglass.com I have always watched in amazement as artisans make beautiful vases, plates and decor out of glass…
As promised, (a little later than I intended) the second blog about my wonderful art retreat to Santa Fe, New Mexico this past August. I spent an afternoon at the Liquid Light Glass Factory in Santa Fe. https://www.liquidlightglass.com I have always watched in amazement as artisans make beautiful vases, plates and decor out of glass. Watching them blow the glass bulb through the tube and then shaping it with tools is fascinating – especially when they add the colored glass. I can spend hours on YouTube watching glass blowing craft. It looks so easy and they shape the glass as if it’s putty.
There were a couple different workshops I could choose from. Both were at least a couple hours; but one seemed to be more complicated than the other. So, I chose the easier one – as I have never worked with glass before.
This video is basically what I did with the help of the teachers. Let me say – the room is definitely hot from the furnace. And I was a bit nervous to handle the blowpipe because it is first inserted into the furnace to pre-heat the tip before it is dipped into the molten glass to pick it up. That’s where I came in. After the instructor did the “hot” part – I was given the blowpipe to shape the glass as it dried – turning the rod so the glass would dry evenly and not drip off! It wasn’t as heavy as I thought it would be – actually felt good to roll it as the glass was being shaped. After a brief trip into the furnace to re-melt the surface, the molten glass is dipped gently into the tray of glass pigment.
Then the fun part begins! We get to shape the color and insert the design into the paperweight. Including the insertion of bubbles. (I always thought if glass had bubbles in it, it was a mistake and poor craftsmanship – but not so!). And then back to the furnace and then shaped on wet wooden molds; after which it is further refined and polished in a pillow of fiberglass – which looks more like a big white cloud in a large wooden bowl. The color slowly appears as the glass is dried and then the shaped paperweight is put into a kiln overnight.
As a visual 2D artist, it is nice to be able to experiment in other arts – especially 3D. I get so absorbed in rendering shapes and figures on canvas and then applying color – it is nice to be able to step away and try something different. To see how glass absorbs colors and observe how the pigment changes with heat and as it cools is interesting. A nice break from brushes and paper while still applying the right brain and offering creative outlets – which is what an Artist retreat should be!
Below are some photos from my wonderful experience at the Liquid Light Glass Factory in Santa Fe, New Mexico – as well as my own paperweight creation.
Instructor preparing the colored glass pigment
Safety First! How to hold the blowpipe/rod
Trays of Colored Pigment
Polished and Prepped for the Kil
My Special Gloves handling the newly polished hot paperweight
This beauty sits on the shelf in my studio – inspiring me to think differently
As always, I love to read your comments, please do leave me your thoughts below!
Best
Rajul
EVEN ARTISTS NEED A RETREAT!
It was “me-time”. I decided to plan this trip as an “Artist’s Retreat”. I spent 6 whole days in the Santa Fe, New Mexico area. I packed my drawing and painting tools, including paper and a portable easel; and I packed my camera. When I travel, I like to photograph landscapes and/or subject matter that inspires me to paint later…
It was “me-time”. I decided to plan this trip as an “Artist’s Retreat”. I spent 6 whole days in the Santa Fe, New Mexico area. I packed my drawing and painting tools, including paper and a portable easel; and I packed my camera. When I travel, I like to photograph landscapes and/or subject matter that inspires me to paint later.
My days were spent in creative pursuits, including a glass factory, a tour of the galleries at Canyon Road, exploration of Taos, NM, a 1,000 year old Pueblo and all the sights in between Taos and Santa Fe – taking the high road through the mountains – and stopping to photograph incredible scenery. I learned a bit about the Native American Indians in the area, had terrific New Mexican food, painted, experimented and even managed to read 3 books!
My favorite day, though; was spent with an accomplished and fantastic artist whom I greatly admire, Nancy Reyner. Nancy is an artist, a teacher and an author. She has written a few books on the use of Acyrlics and a book on how to create and critique your own paintings. I would encourage any artist – regardless of medium –to check her out at www.nancyreyner.com. She has really helped me to expand my “toolbox” and take my paintings to a higher level.
Selfie with Nancy in her studio.
I LOVE her work. I came across her paintings online and via You Tube. It was her You Tube video that taught me how to apply gold/silver leaf to canvas and/or wood panels. I love to use these materials as a foundational background to my paintings.
Nancy teaches a couple classes that I have taken online. She is an expert on the use of the Acrylic medium. When I knew I was making a trip to New Mexico; Nancy was gracious enough to join me for lunch and then we went back to her studio for a hands-on workshop. We worked on exercises around the “Pouring” of Acrylic. It is a specific method of painting that produces unexpected results in the most abstract style. And it was sooo. Much. Fun!
We “played” with different textures of acrylic to use as a foundation for paint. We “poured” using pouring medium and water with acrylics and we painted in the abstract. It was a really good workshop because I was able to learn how the various textures work with different types of acrylic paint. Experimenting, observing and learning how paint and mediums interact can be so valuable for an artist – and can lead to such growth creatively.
When I worked in Corporate America, we would have called this “professional development”. Artists can benefit from this as well. Below I have included various products of the workshop – as well as a painting I did after experimenting with the pouring technique.
Wood board with Molding Paste, Acrylic Grounds and Glass Bead Gel
Getting ready for the Pour!
Other “experiments” with Acrylic Paints
Experimental Result: Pouring Acrylic
When I got back to my studio – I played around with pouring – and this is where the painting took me! I call it “The Water Dragon”. It’s Acrylic & Copper Leaf on a Wood Panel that is 50 x 40cm.
I would like to thank Nancy for her wonderful mentorship and tutelage. I would recommend her courses to any artist who wants to expand his/her “toolbox” and just play creatively.
As always, I love to hear what my readers are thinking! Feel free to leave me a comment! My next few blogs will continue to highlight Creative Pursuits from my retreat to Santa Fe, NM – so please stay tuned to read more!
For your Information: The online classes I have taken with Nancy Reyner are “The Complete Guide to Acrylic Painting” https://nancyreyner.com/acrylic-techniques-landing-page-1/and “Painting Excellence” https://nancyreyner.com/painting-excellence-landing-page/. You can learn more about Nancy at www.nancyreyner.com.
Best
Rajul
WATER
My newest collection is themed “Water”. Since I was a young girl, I remember submersing myself in the town’s municipal swimming pool and feeling a sense of comfort as the water cocooned around me. Muffling or silencing all sound, dunking myself underwater offered an immediate transitory escape from the hustle and bustle of the crowded pool…
Connections between water and life are absolute. Water destructs, energizes, and heals; transforming all life and spirit.
My newest collection is themed “Water”. Since I was a young girl, I remember submersing myself in the town’s municipal swimming pool and feeling a sense of comfort as the water cocooned around me. Muffling or silencing all sound, dunking myself underwater offered an immediate transitory escape from the hustle and bustle of the crowded pool
In Japan, water is considered a vital part of daily reflection, every park has a stream, pond and/or waterfalls to offer a visual and auditory sense of calm. Onsens are used for healing after strenuous exercise or a long day/week. They are also venues for social gathering amongst friends and family – another escape from the “daily” grind of life. Not only unique to Japan; hot mineral springs are used all over the world for the healing of the soul and spirit.
Who among us has never taken to the “bath” for solitude and respite?
Ocean water has always lent a salty and mineral flavor to beaches; which have proven to offer healthful benefits, mental and physical. Going to the “beach” is a popular vacation and past time for everyone.
Memories Of Hokusai VI
Acrylic & Silver Leaf on Canvas
160 x 140cm
2018
Oceans Below
Acrylic on Canvas
92 x 72cm
2018
Meanwhile, in destinations such as Alaska, Iceland and Scandinavia water takes other forms, which offer a visual feast and ecosystems unique from tropical waters. Glacial Ice melting into surrounding water gives it a beautiful opaque blue – different from the turquoise of the water at the equator. Glacial water streams and waterfalls can be found in Ice Caves. The sheer remoteness of these areas, the surrounding wildlife and water formations offer a vastly different human experience when compared to the tropical venues of beaches nearer to the equator.
In “Water”, I strive to capture the impact of water on the human condition; while also depicting its untamed energy. Watching water flow is meditative. Vibrations of crashing water bring me comfort. The sounds of waves offer me music. Its formations leave me awestruck.
My paintings offer the essence of these interactions; while respecting the simple power of Water’s breath to all life.
Please note: This collection will be showing at the BMW Gallery in Osaka, Japan from August 30, 2018 into September. Further information on these paintings can be found at www.rshah-studio.com/Portfolio/
Enjoy
Rajul
Reflections From The First 6 Months Of 2018
The beginning of this 2018 – I was excited and exhilerated. I had 3 shows scheduled. In February at the India Art Festival and two shows in May, the first at Kitano Alley Gallery of Kobe; and the 2nd at the Intercontinental Hotel in Osaka…
The beginning of this 2018 – I was excited and exhilerated. I had 3 shows scheduled. In February at the India Art Festival and two shows in May, the first at Kitano Alley Gallery of Kobe; and the 2nd at the Intercontinental Hotel in Osaka.
The India Art Festival was a reaffirming show for me. I sold three pieces and met so many wonderful people. I also met some wonderfully talented artists that I loved conversing with about experiences and paintings. Walking around the booths, I myself – became very inspired as I observed the lines drawn, media used and colors on canvas.
At the India Art Festival I met this wonderful woman who had also
lived in Japan and took Sumi-E classes from the same Master Sensei that I do!
It was encouraging and humbling to see my works chosen for major Press Releases of the Festival, including “A Walk in the Forest” and “Serenity on Water”.
My works on display at the India Art Festival
I met some wonderful people at each show – Kobe and Osaka collectors are always so welcoming and love to celebrate art.
Solo Show at the Kitano Alley Gallery, Kobe Japan
Solo Show at the Kitano Alley Gallery Kobe, Japan
Gallery Director showing my book of prints
Stressed Patisserie, Intercontinental Hotel Osaka, Japan
With Royi Akavia, Director (middle) and my newest collector in front of the painting he bought! Stressed Patisserie, Intercontinental Hotel Osaka, Japan
In preparation for these shows – specifically the two in May, I revamped my website and decided to offer Limited Edition Prints of the Fuji Collection as part of a “Book”. Further, at the suggestion of the Gallery Director, I embellished these prints by painting additional elements onto them, which took me a couple weeks, but well worth the time as a collector loved the prints and bought them for his office.
Cover of the The Fuji Collection Print Book
Inside the The Fuji Collection Prints Book
Some of the Originally Embellished Prints that are part of the book
Networking in the art world is just as important as it is in the Business world. One of the visitors was the Manager of the BMW dealership in Osaka – and it just so happened that I was invited to be part of a group show being hosted at the dealership at the end of August. Which meant – I have four paintings to prepare during the Summer in my New Jersey studio. Exciting and Exhausting at the same time. I am also working on a commission of the Golden Pavilion for a separate client, that is also due in mid-August.
As a result, I am going to be premiering the first series of my newest collection in the show. It will be called “Water”. I will be highlighting water in different forms, including the formation of an ice cave, waterfalls and waves. It’s been interesting as the closer I look at the water in its various forms – the more colors one can see.
If you are near Osaka at the end of August – I hope you will come visit! I will post more detailed information in a later blog.
In the meantime, I will be back in my studio painting away!
Until my next blog! (With) Peace. (in) ART. (to the) SouL.
Rajul
www.rshah-studio.com
Metallics & Me
Being of Indian descent, I grew up in a culture that celebrates the brightness of color. Gold and Silver, in jewelry or any other form, is considered an investment. “Jewel tones” which allow for reflective qualities in fabric and paintings, have always excited me. But, it is the underlying use of reflective metallic color that has always attracted me…
Being of Indian descent, I grew up in a culture that celebrates the brightness of color. Gold and Silver, in jewelry or any other form, is considered an investment. “Jewel tones” which allow for reflective qualities in fabric and paintings, have always excited me. But, it is the underlying use of reflective metallic color that has always attracted me. The use of gold, silver and other precious metals in threads to adorn a border, a sari or interweaved into an outfit give it an ethereal quality. The use of precious metals to outline precious and semi-precious stones within intricate designs are truly works of art as the contrast of color between the stones and the stone and the metal are definite considerations so that when the particular piece of “art” is viewed, there is a feeling of Joy that goes with it. Of course, one could argue that any precious metal and/or stone would bring joy to its owner – but it is my belief that the design of such things is what brings one to “Succumb”, to “Be Drawn into” the art of the textile or jewelry itself. Forcing one’s eyes to “linger” for just that one last sigh or just those.. added.. few seconds….It is my hope that I can bring some of this quality forward in my artwork. As such, I have been experimenting with the use of silver and gold…below is a metallic abstract I recently completed using 3 colors plus black, white, silver and gold.
Silver Eyes, Oil on Canvas, 60 x 40cm
” And now… I can’t wait to get back to my studio!
Until my next blog…
With PEACE. In ART. To the SOUL…
A Crossover…
In my “new life” as an artist; there are occasions when I am reminded of my “old life” in the corporate world. (For those of you who don’t know me, I spent 20 years in the US healthcare industry before moving to Japan.) It was an unexpected pleasure to find a product of leadership and teamwork in the Art World that reminded me of successful outcomes in my former career; where I was fortunate to work with some really fantastic people and teams.
In my “new life” as an artist; there are occasions when I am reminded of my “old life” in the corporate world. (For those of you who don’t know me, I spent 20 years in the US healthcare industry before moving to Japan.) It was an unexpected pleasure to find a product of leadership and teamwork in the Art World that reminded me of successful outcomes in my former career; where I was fortunate to work with some really fantastic people and teams. Taking advantage of a snow day where my son’s soccer game was cancelled, I took the opportunity to visit an exhibit at the Mori Art Museum in Roppongi Hills that I have been curious about for weeks
http://www.mori.art.museum/eng/exhibition/murakami_takashi.html
Takashi Murakami (b. 1962) is a contemporary artist and is especially known for his character-based artworks. Much of the art on display was a combination of anime and manga styles. Personally, these are not my favorite styles of Art. Still; they are definitely amazing works if you are a fan.
What I did find amazing and inspirational is one of his latest projects that was started in response to the Great East Japan Earthquake in March 2011. The 500 Arhats (2012) is a 3-meter high, 100-meter long painting of the 500 enlightened followers (arhats) of Buddha. “The piece highlights the power of prayer that transcends religious differences in a dynamic vision of the intersection of finite life and the infinite nature and universe.” – Mori Art Museum
This piece of artwork is almost overwhelming considering its sheer size. But, that isn’t what I found to be the most inspiring part. This artwork is the product of a year-long project the artist led with hundreds of university art student graduates in a production studio in Saitama.
Background: The Factory
In order to complete The 500 Arhats, Takashi Murakami employed a technique he has used previously. Inspired by American artists Andy Warhol and Jeff Koons; (Wait, Andy Warhol had a factory?! – I will have to research that one for a future blog!) Takashi Murakami made the idea of a “studio-factory” a reality in the Japanese art world. And what better place to do it?! A culture which prides itself in the efficient repetition of process in the pursuit of perfection.
Murakami supplies the leadership, the vision, the strategy, blueprints and the “plan”; and his students execute it operationally. (Yes, I am still talking about the art world – not automotive, not healthcare, not toys… ART!) And, he has been known to provide pencil drawings via e-mail, which allotted him the potential significance of “the first artist to paint by email” by the New York Times.
Takashi Murakami’s production studio is run in the style of a Japanese small-town workshop; it is an expression of Murakami’s own operating philosophy.
The Japanese word for such workshops, Kojo, loosely translated means “factory” in English, which has earned comparisons to Ford’s River Rouge Plant and a Toyota-style manufacturing operation. Still; the character of the place is that of a handcrafted small-town workshop.
A “small-town” workshop that has a total floor area of 9,000 square meters, 3 ordinary-looking warehouse buildings with 2 of them linked together so a 50-meter long section of the 500 Arhats painting could be accommodated.
This “world’s largest painting workshop” operates around the clock, in shifts.
While not uncommon for Murakami to employ students as part of his factory; he didn’t always employ art university graduates because he didn’t want the challenge of dealing with “egos”. He felt that students of vocational schools were more receptive to instruction. However; the undertaking of The 500 Arhats in such a short period of time required the assistance of people who had a mastery in specific artistic skills. Hence; Murakami recruited from Japanese Art Universities employing a “Scout Caravan” style of recruitment. (Kind of like American Idol’s talent search).
The Production
In learning about the production of The 500 Arhats, I am reminded of my corporate days. Murakami employed good business practices (with an artist twist) to reach his vision. There were morning meetings, calisthenics exercises (warm up) at the beginning of each day. Status reports were shared across assistants, manuals for painting and silk screening, “regulation of paint colors using color ships and the use of instructions called “maps” that show the partitions and segments for all silk screens in all sizes”. And then trial and error… Practice to perfection. The result? A system and methodology that would allow “the factory” to produce works within a shorter time span that were presented on a global stage.
THE ARTWORK: The 500 Arhats
OK, so now you know how it was made. Let me tell you about the absolutely amazing result! Meter after meter of gorgeous color, vibrancy and symbolism inspired by the traditional style artworks and in particular; Kano Kazunobu’s Late-Edo period Superwork titled “The Five Hundred Arhats”. (Once again.. Artists Inspiring Artists Creating Art!) Mori Art Museum’s program quoted the artist “The disaster on March 11, 2011 showed me how religion and art arise in relation to one another; I saw with my own eyes how the world needed art with a religious context” (Asahi Shimbun, Jan 7, 2015). Or again, “I saw religion arising that very moment” (Yomiuri Shimbun, Dec 18, 2014). In Buddhism, an arhat is “one who is worthy” or a “perfected person”. Arhats attain nirvana through a practice of meditation and self-reflection. What is an arhat?
My View
I am not an expert on Buddhism (and would never claim to be an expert on the art world) but I do believe that Murakami’s painting depicting the five hundred arhats of Buddhism was an offer to the Japanese people (and anyone else who has suffered from a natural disaster) as a way to heal, to go through the process of denial, grief, loss, anger to acceptance and beyond.
If an arhat represents a mortal life that has achieved immortality and enlightenment – then so can a human being survive the insult of trauma and suffer through the process mourning to acceptance to forgiveness and beyond to a “new normal”. The sheer size of the painting demands that a person spend ample amounts of time staring and viewing each section, each illustration, each arhat. The vastness of the 100 meter mural commands a person’s full attention and focus to really understand its interpretation. An expert might say the Recovery Process is similar in terms of focus, deliberation and time. Certainly not in terms of hours or minutes – but an analogous example to days, weeks, years, decades in can take to mourn, accept and rebuild.
I, personally, have never suffered a loss or injury due to a natural disaster or major event. There have been times when my family or friends have been in close proximity or (thankfully) barely injured, (the Gujarat Earthquake of 2001; Panam Flight 73 hijacking in 1986 in Karachi, Pakistan; Mumbai Terrorist Attacks November, 2008 and New York 9/11) but I am grateful that I have not experienced this type of loss.
Still; viewing Murakami’s painting of The 500 Arhats and knowing the motivation for its creation, it is hard to walk away without a small insight to the amount of suffering that must have been… and still is for many.
A true inspiration. Art is used to capture many things – Takashi Murakami has captured the suffering of humanity and given an opportunity for recovery. Lastly, I leave you with the few images I was able to capture of this wonderful work of Art… Enjoy.
The 500 Arhats will be on exhibition at the Mori Art Museum in Roppongi Hills through March 6, 2016. If you haven’t had an opportunity to do so – I urge you to check it out if you are local to Tokyo.
(With) PEACE. (In) ART. (To the) SOUL.
Rajul
The Element of the Artiste!
Recently, I have also had the fortune of meeting two artists whose works have given me much to ponder as I approach my own work. Their use of metallics (albeit for different reasons) is refreshing and exciting.Aude de Saint-Exupery http://www.audedesaintexupery.com likes to work with a metallic palette as it reminds her of the sun and heat. Her work is inspired by her travels and living in Africa, the Pacific Islands and in Asia. She uses metallics to highlight a landscape and/or call attention to detail.
Recently, I have also had the fortune of meeting two artists whose works have given me much to ponder as I approach my own work. Their use of metallics (albeit for different reasons) is refreshing and exciting.Aude de Saint-Exupery http://www.audedesaintexupery.com likes to work with a metallic palette as it reminds her of the sun and heat. Her work is inspired by her travels and living in Africa, the Pacific Islands and in Asia. She uses metallics to highlight a landscape and/or call attention to detail.
Another artist, Gwen Anderson, www.gwenchi.com incorporates silver leaf or aluminum leaf into her collections, which I find to be haunting and intricate. Gwen’s work is influenced by her experiences as a child, surviving a shipwreck along with her sister and friends; while losing her father and others. The mental images from this event, which have developed over time, are both “harrowing and beautiful” and an inspiration to her work. In Gwen’s works, the corrosive nature of the metals allows for her interpretations to reflect the distortion and change of memories through time. Her use of metallics as a medium is interesting to me as an artist and motivates me to explore use of the color in my own artwork.
The Art Of The Japanese Brush
Art has so many different forms across the world. Major types of mediums familiar to Western cultures, include oil, pastels, watercolor, acrylic and graphite (drawing). In Japan, one of the most popular and historical mediums is known as ink brush painting. Referred by many as “ink and wash” painting, it is an East Asian art originating in China. Commonly known as Sumi-E in Japan (in Japanese it is suiboku-ga), it is typically a wash with only black ink. Black ink is combined with water at varying levels to produce different shades of grey. Similar ink/brush painting is applied to the art of Calligraphy. But, for the purposes of this post – I am only going to focus on Sumi-E.The Chinese name for ink/brush painting is shui-mo hua; Korean sumukhwa; Vietnamese tranh thuy mac.
Art has so many different forms across the world. Major types of mediums familiar to Western cultures, include oil, pastels, watercolor, acrylic and graphite (drawing). In Japan, one of the most popular and historical mediums is known as ink brush painting. Referred by many as “ink and wash” painting, it is an East Asian art originating in China. Commonly known as Sumi-E in Japan (in Japanese it is suiboku-ga), it is typically a wash with only black ink. Black ink is combined with water at varying levels to produce different shades of grey. Similar ink/brush painting is applied to the art of Calligraphy. But, for the purposes of this post – I am only going to focus on Sumi-E.The Chinese name for ink/brush painting is shui-mo hua; Korean sumukhwa; Vietnamese tranh thuy mac.
http://www.ink-treasures.com/history/ink-painting/japanese-ink-painting/
History
It seems that the birthplace of ink wash painting is China during the Tang Dynasty (618-907). An 8th century poet/painter known as Wang Wei is responsible for introducing color to existing ink wash paintings. The art was further developed into a more during the Song Dynasty (960-1279). After this, the art form emigrated to Korea and then arrived in Japan via Korean Zen Buddhist Missionaries during the mid-14th century.
Tools
To do basic Sumi-E painting requires 5 tools. There is the Fude (Brush), the Suzuri (Ink Grinding Stone), the Sumi (Ink Stick) and the Kami (Paper): otherwise, known as the Four Treasures. Then there are the water bowls for rinsing and mixing to create the many shades of black and grey. Sumi-E is historically charcoal/ black ink brush painting. The use of color was introduced to the art; which combined with the many types of brush strokes create works of art very unique in style. The Art is in the brush and the stroke. Understanding how much water and ink a brush can hold and WHERE in the brush the water and ink are being held can be the difference between a bold or delicate line. (It can also be the difference between disaster and success…) Of course, there are many types of brushes, paper, boards and panels that one uses when painting; but we all start with these basic tools in class.
Philosophy
There is a spirituality to Sumi-E painting and all ink wash paintings. In class, we are taught to meditate and “calm” as we grind the sumi stick (ink stick) on the stone to make the black ink. This can take up to 10 minutes while the fragrance of the camphor in the ink stick starts to waft through the air. Yes, I’m serious. It actually smells calming and is quite an aesthetic experience! By the time the ink is made into a creamy black texture, the artist is “at peace in his/her zone” and ready to pick up the brush. The object of painting is to capture the spirit or essence of your subject matter – whether it be a flower, an animal, a bird, or a dancer. When painting a landscape, the artist remembers the feeling of the nature surrounding him/her and what it felt and sounded like to be surrounded by beauty. This “feeling” is then translated into every single stroke of the brush. Talented sumi-e artists are successful when the image they have painted communicates the essence of the subject; versus just the likeness. The goal is for a sense of balance, rhythm and harmony. This is achieved through patience, focus and a LOT of practice! Unlike oil, acrylics and pastels, brush painting is a “one-stroke” art – meaning; you can’t cover your mistakes!
http://www.sumiesociety.org/whatissumie.php
The Artwork
Every year my wonderful Sumi-E senseis host a “Kakizome” Party (an opportunity for all their students to display the Sumi-E artwork they produced in class). I referred to them in my last blog as a source of inspiration; Shoko and Suiko Ohta and I re-visit them again because the result of their wonderful teaching talent was so evident at this party. They are a mother/daughter team and are 3rd and 4th generation Sumi-E painters. They literally teach hundreds of very lucky students.
Attending the party, viewing the magnificent pieces of Art and simply being in the presence of so much beauty was so uplifting, I would be remiss if I did not share it on my blog. I will let the photos speak for themselves – but you will see that it is evident how lucky we all are to be taught by such talented and wonderful women. Once more, I am inspired by the use of gold and silver; along with the sheer size and details of the compositions on display. The patience and tiring dedication many of these artists applied to their work is illustrated in every piece of artwork.
The Gold Peacock against the Blue Background and the Colorful Peacock against the gold background are actually painted on the same front and back of the same panel. It took the artist (who is also an eye doctor) 6 months, painting 2 days per week to finish both sides of this panel. The use of gold allows for the painting to glow. Imagine these panels in a room at sunrise or sunset, or by the fire of candlelight – the reflection of the warm light can only be soothing as you sip a glass of wine!
Imagine using these boxes on your kitchen counter to hold tea, or on your desk to hold paper clips or business cards.
Of course, the photos don’t do justice to any of these artworks. The glow and light reflecting from these paintings in person is truly an inspirational experience; one I hope to learn and capture in my own work. I leave you with the many other contributions to the Kakizome Party.
Until my next blog,
Rajul