Mirrored Reality with Cognitive Images

These stunning works by Jeram Patel instantly take the viewer in their fold, and the immediate environ of the place, where they are mounted, also starts reflecting itself in the works. This ‘creation within creation’, and the ever changing image-world, seems not only wondrous to the viewer, but also takes him/her to imaginative flights. The sensory jolt felt by the viewer leads him/her to an unearthing of memories, as well as to unfolding of certain perceptions hitherto unexplored, even unseen. Thus, through the images engraved and mirror like steel surfaces fixed, he/she is able to achieve a sense of reality in a pluralistic manner at one go. The material used to create these works, is real as an object can be real, and whatever one perceives in reflections of the self and environs is also nothing else but real. These realities may appear at times to be transitory, and in a flux, yet the very fact that they seem real to the viewer is an experience in itself. These are not elusive works, and no illusionary ‘play’ has also been intended, thus without taking the viewer into an optical game, or into the realm of surreal; Jeram Patel creates, once again, an image-world which is truly real in itself; and with its reality is able to accelerate the thought-process of the viewer, gratifying him/her with sensory, tactile, and sublime experience as well. The feeling that each work is inundated with several engraved forms (bearing dozens of lines) and is marked with colours, is overpowering in its simplicity, and this becomes the hallmark of these creations: the works are simple, direct, in their bare minimum entities, yet are multifarious in their visual appeal and intent.

Right from the beginning of his career, Jeram Bhai (as he is fondly called in the art fraternity) has embarked upon creating the image which is real in itself, and which never claims to represent any thing in particular, or in specific terms. Thus, the very first glance, at the image, or series of images, he has created, holds our attention, and we are enthralled with the visions they may seem to offer; enabling us to create our own perception about these images. His image-world invites us to participate in its realm (s) not just as a viewer but a true creator, and a true participant, of the ‘image making’ process. He seems to suggest that these works do not need to be ‘decoded’ or do not ask for a distillation of the ‘meaning’ from their formation, what they require is a patient, observant viewing, from which certain aesthetical, and experiential thoughts can be grasped, or can be formed. Jeram Patel’s images are cognitive images, they are not just formal, skillfully handled, but are cohesive, ‘loaded’ and charged, generating an energy and movement of their own.

When I encountered these new works in Vadodara inside the hall of a factory building, I felt ecstatic, and that feeling has remained till today. I had especially gone to Vadodara to view these work, and to be with Jeram Bhai for two-three days. Having viewed them again and again, during that visit, I was convinced that in these works, something new has happened. Yet, the traces and threads from the old works have also remained, to a gratifying effect, for us, especially for those who have followed his works, from different periods, and have also written on them. These traces and threads are of great value, since by putting them together one is able to enjoy these works more. Jeram Patel in the late fifties and early sixties has done some remarkable works entitled ‘Blowtorch on wood.’ By fitting the plywood sheets on top of one another, he had burnt some part of the ‘amalgamated’ wood, and had literally nailed it here and there, he had put some colour, and Fevicol like things also in some areas. The burnt out parts looked engraved, and the un burnt surfaces of the wood created an enchanting, contrasting environ on the pictorial space. The burnt out areas in those works got marked with lines as well.

In an interview given to me in 2007, Jeram Bhai has observed: “Soon after coming back from London in the late fifties, where I had gone for further studies in art, I got a chance to visit Japan. If I had not gone to Japan, I would perhaps be working with canvas and paper only. In Japan I found that many experiments are being done with different materials for creating art works….so, one day I picked up ply-boards of one inch, placed three-four of these on top of each other, pasted them, and taking blowtorch in hand, I started burning part of the ply. The black and the forms which emerged out of this act were a revelation to me. The sheer contrast of the original colour of the ply board, and the burnt wood enchanted me. I found that without any pre-conceived notion, I had plunged into an area, which was really responding to my creative feelings within. I put in some colours also, here and there, and the final image, seemed to convince me of its own reality. I have always had faith in the reality of the image rather than any idea or preconceived notion of reality being projected through the image. Yes, I enjoyed working in the medium for four-five years, but left it in 1963-64, and moved on to drawings on paper with ink.”

One can say that after forty years, some of the elements from the earlier works, have come back, rejuvenated, and transformed, and have been honed in a manner which has new intent as well. The works mounted here have motif-like forms, which have appeared in Jeram Patel’s work for the first time: These are the forms akin to the form of a bird, an arrow, half-moon, a flower, a plate, lips, butterfly and serpent , to name a few. One is also reminded of mountainous ranges and a river flowing through them. I also had a very strange feeling of being inside and outside both of a ‘hollow’ mountain, after seeing some of the works. Having somewhat mythical dimensions, these works can really ignite one’s imagination. The winding and unwinding paths, the zig-zag lines, gullies with round engraved forms, surrounded by the shiny steel-sheets also may create enchanting landscapes for some.

In an amazing manner, these works have an ability to ‘transform’ the forms in rapid succession, and give an altogether different view (point) to their very intent. Thus the real, the mythical, the purely sensuous, and the ‘erotic’- all can be seen performing at one stage simultaneously, in a sequential or an alternate manner. Talking to Jeram Bhai, after viewing these works in Vadodara, I had suddenly commented, “In these works one experiences a Mahabharat of multifarious human experiences”, his reaction to that was a smile, and he said “you think so?”

Yes, in these works, there are fine smooth surfaces, rugged textures, fiery forms , flowing and flowering gestures, many a signs and motif of unpronounced magnetic quality, and overall a ‘movement’ which keeps us engaged to the core. Power of the real images, has been manifested in these works with dexterity and with an intimate resolution. Certain tinges of orange, mustard, purple and some other hues are marked with a new sensitivity, and visual appeal.

Jeram Patel’s preoccupation with black and white drawings, done in small and large format, for almost four decades, has also perhaps got itself sculpted, in these works, with a fresh vibrancy. Thus bearing threads, from the works of different periods, Jeram Bhai has truly contemplated in these works a new dimension by using the elements of painting, drawing, sculpture, and print-making. The mirrored reality, through the works, speaks to us in a visual language, which is powerful, urgent, enchanting, and which keeps the mind’s eye active throughout. A certain purity and poignancy of the poetic forms, and tinges of colours, has a rhythm of its own. And one can once again recall that the viewer finds a space, which is spectacular, wondrous, and invites him/her to simulate his/her own construct also, by connecting the forms and elements offered here, according to choices.

Whenever and wherever these works maybe mounted, or will be mounted in future, the environs will always be reflected on them, thus revealing their intent anew.

25 December, 2008    
- Prayag Shukla