“Amara Noy Choy”

Atanu Basu

28 artists of batch 1996 of Government College of Arts and Crafts (GCAC) recently presented their works in the 6th Annual Exhibition at the Academy of Fine Arts. This event is undoubtedly a significant happening for the art lovers of the city. 66 student-level artists and a few from the various departments showcased their works in this exhibition. The exhibits were both Indian and Western styles of painting; a few of them were in ceramic art, pottery, wood and finally, in leather design. Exhibits were mainly centered on sculpture, graphics and textile design. The group they formed had a rather exotic name–‘‘AMARA NOY CHOY”. This group, consisting of 28 artists took part in this event.

The viewers of this exhibition tacitly received a hidden message–the space of style and technique, nowadays, as far as they are concerned, are essentially experimental in nature, yet they are very specific and take their endeavour very seriously. Most of the exhibits conveyed some sort of aesthetic thought, coupled with modern view. This could be thought of as their signature specifica.

Anjan Das excelled in acrylic on canvas, particularly his piece, “Mysterious Light”. The study of nude male models attracts the viewers with its internal beauty, his gifted use of tonal variation, mingled smoothly into the faraway sky and figurines placed strategically in close distance, conveyed a vibrant feeling in the viewer’s mind.

AvijitSengupta, though a student of graphics, his tempera was excellent. His piece, named “Untitled”, used a judicious choice of red, orange, brown and black, portrayed as a fiery dawn, a landscape that would be remembered by the viewers for quite some time. His other piece, also named as untitled, was excellent.

Dipankar Ray’s forte was his choice of two styles of media as well as his superb techniques. His preferred medium was canvas, where acrylic and natural pigments were used. He captured the expanse of distances mingled in geometry; his patterns and selection of objects portrayed a sort of rhythmic beauty, which invariably reminds one of the theme–‘nature within me and beyond’.

On the other hand, Dipankar Chanda once again used acrylic on canvas. But he depicted the distance in soft colour. His pet themes seemed to be sky, land, trees and stuff like that. The tonal quality and the skillful placement of light unfolded like humble poetry.

Nirmal Kumar Mallick used terracotta and metal to create the image of ‘Durga’. The stylistic ten hands and soft facial expression, all are arranged in their own way. He used a novel idea of putting his work on a high pedestal, made out of wood and iron wheels. He had exhibited a work on wood, named ‘Dream Step’.

RamkrishnaRajbanshi also used wood as his medium. His exhibits, ‘Nature’ and ‘Fondness’ are worth-mentioning because of their stylistic and rhythmic patterns.

Shovon Mukherjee’s exhibit, an acrylic on canvas bears an exotic name–‘Metropolis 3’. This exhibit depicts the tension, yet its appearance is very much soft, but marred with black colour. It had also conveyed an angry mood to its viewers.

Sandip Bajpeyi’s paintings are very much impressive. He used both thick as well as thin colours. His skill in using spatula and brush depicts a kind of modernity, that is simply mind-boggling.

SekharBasu’s watercolour on paper, entitled ‘Nature-02’ deserves a special mention.

SantanuBandyopadhyay presented his viewers with a splendid blend of amazing realism bordering almost to surrealism. His piece, ‘Awaiting brutal ambush in a calm pink dawn’ will stay for quite some time with us.

The works presented by SubhrajitTalapatra,  Tapas Hazra,  SumitavaRaychowdhury (‘untitled’ series), Sukanya Ghosh (‘Nature’), Sekhar Ghosh (‘Consequence’), Ranjit Shee (Raga Behag), Kakoly Chattopadhyay (‘Nature’), Aniruddha Chowdhury (‘The burning’), Atish Mukherjee (‘Phool Kumari), Beli Sarkar, Dibyendu Tripathi, Sucharita Poddar, Pradeep Chanda, Kanchan Ray-Kanjilal and Mita Ray in various forms and media are also worth mentioning.

Back to Home Page

Frontier
Vol 57, No. 32, Feb 2 - 8, 2025