Maps for a vanished nation: Gulammohammed Sheikh’s “Kaarawaan and Other Works”
The 87-year-old Gulammohammed Sheikh cautions that he “rambles a lot”. His work gracefully crosses periods as it meanders. The paintings seem to be moving in several directions, displaying several stories at once. They pinpoint the crises of human life and have an exquisite appearance akin to Google Maps.
In his latest show, “Kaarawaan and Other Works,” which is being arranged by the Vadehra Art Gallery in New Delhi, Gulammohammed showcases a vast collection of photographs that illustrate a variety of life analogies. Prominent figures such as Kabir, Gandhi, St. Francis, and Frida Kahlo are shown on enormous paintings, interwoven with peasants and monarchs, lovers and friends, warriors and singers. Small and large animals alike make an effort to share their tales of glory and sorrow on terraces, in gardens, inside houses, and out into the ocean.
His elegiac paintings depict the multi-cultural and multi-religious character of the country by mapping out cosmopolitan India and vernacular Bharat. Scattered ecosystems and delicately drawn birds create a discourse that challenges preconceived notions on each painting. There are canvases that are shown as installations. Folders of today tell ancient stories in new ways. The lost love sits in a deep woodland with a streak of tigers in “Majnun in the Forest.” The artwork has an intimate and hazy appearance akin to a satellite view. The “Tree of Sleep,” an above and microscopic view of the tree of life, is located on the other side of Majnun. Although different, the two canvases are related. His work shines when it converges.
The ark, a common theme for Muhammad, is shown carrying ladies, men, children, birds, creatures, and guardian saints on choppy waves in the enormous painting known as “Kaarawaan.” Gulammohammed saw this artwork as a life metaphor. Everybody has bittersweet memories. His memories now include things he learned in school about Kabir, things he saw about Gandhi, and things that captivated him about the Renaissance painters. He emphasizes the necessity to include many viewpoints in expression and look at everything from the inside out by saying, “I am continually making memory.” This diversity frees him from a solitary viewpoint.
The painting “Boat Adrift A River” by Pahari painter Nainsukh from the 18th century served as his inspiration for the Ark series. The king’s warriors are inside the boat, which is floating over choppy waves. The present display pays homage to Nainsukh. The ark also stands for the power and safety of diverse culture in his writings. His 2015 piece on Kashmir, “Ark: Kashmir,” served as a moving reminder of the region’s delicate peace and syncretic culture. The ark often materializes in reaction to the nation’s escalating sectarian bloodshed. The ark is a sign of optimism despite the chaos of the seas, which symbolize disaster.
A selection of “kaawads,” or portable shrines, are also on display during the exhibition. Gandhi’s is the most memorable because it captures his passion and simplicity. You are immediately confronted with Gandhi’s early years, youth, marriage, and political struggles as soon as you enter the folding doors.
Gulammohammed has seen almost four generations of artists come and go. He thinks they will be given more credit. Art’s little audience “matters to the health of the nation.” Because, in his opinion, “art brings peace.”
