Indian artist Koushal Choudhary (b. 1968) is an internationally collected abstract painter known for his BOLD use of color and complex layering blending chaos and harmony to create works that are in private collections on 4 continents and over 9 countries. Koushal Choudhary is an abstract painter working and living in Mumbai. He has developed his unique techniques over the years during which he is continuously innovating to create works with emphasis on bold color combinations, blending, and a gestural style. Koushal creates each work with no preconceived outcome in mind, preferring to let the technique guide him in creating complex paintings. Working primarily with fluid acrylics along with other mediums, he creates intricate works that lure the viewer in with the complexities of the bold color, pattern, and movement. Koushal’s abstract style allows the viewer to experience the artwork through the color combinations, brush strokes, and other gestural techniques. Koushal’s artwork is intended to be a visual experience which evoke a feeling of transport from the viewer. Koushal’s extensive world travels have changed his perspective and provide inspiration to create artworks that do the same for the viewer – elicit the feeling of perception shift that is unique emotionally and intellectually giving each viewer a different personal experience.
A renowned artist Koushal Choudhary has endeavored to create recent thematic work in acrylic colors on canvas. This work , unique in its own way exemplifies creativity of the artist’s innovative expressions in a surrealistic style indicating the apt integration of various ingredients and constituents with the main thematic characters in the relevant perspectives.
A brief outline of these thematic endeavors is as under.
Blessed with an inborn creativity and genuine artistic talent, Koushal Choudhary made significant progress in his artistic vision and visual language in the form of various art form and shape, mostly through practical experience of human psychology and the building infrastructures alike. Being a well known practising Civil Engineer in his earlier life, his initial art journey centered around the grid structures with hidden / apparent human lady figures at the back. This was an obvious illustration of the typical Indian women bound by various social restrictions and barriers like social customs, prohibitive restriction etc., there by her being a mere house hold lady effectively loosing her freedom of mind and existence. Subsequently, this art form changed it shape and perspective in different arenas due to many experimentation, practiced and adopted by the artist regarding media & techniques at hand in course of time to incorporate modernity in life.
Over a period of time, Koushal Choudhry underwent amendments and adopted new styles regarding innumerable facets of human life mostly due to exposure to experience from several strategic inhibitions . Pragmatics and research minded approach, rational out look, positive attitude towards life and genuine inborn creative instinct together motivated him to undertake and create the present work.
The present art work elaborates a thoughtful and meaningful expressionism about the integration of several ingredients and constituents with the main character in the realistic arenas. The work mostly displays typical facial peculiarities of an Indian lady undergoing her life cycle through various stages with a rare genre of emotional highlights on her face. The typical lady adorned with traditional draperies and jewelleries exhibits her intrinsic beauty in the ethnic sense and the emotions displayed on face are mostly various sentiments and upheavals in her mind or in other words the mindscapes in the relevant arenas of life. The include joy, excitement, involvement, happiness, curiosity, love, compassion, humanity etc., in the relevant perspectives of environmental and social arenas. Secondly, each work displays typical portfolios in the form of segments or strips on outer or surrounding peripheries of the main characters signifying the ubiquitous common folk from various part of the country and globe migrating to metropolitan city like Mumbai, Delhi etc. This is vividly demonstrating a herd of migrants with the common objective of working and associating self with the so called Bollywood stars in the relevant arena. These includes mostly upcoming artiste and technicians who have left their native places in search of the so called “GREEN PASTURES” in the film industry i.e. BOLLYWOOD with the sole intention of working here and achieving their goal. These strategic and symbolic undercurrents attached with all the paintings with the form of strips or outer peripheries highlight in a typical way the intrinsic urge in the mind of these common folk.
Most prominently, these works even demonstrate some hidden grids/ barrier in the symbolic form of social norms and customs, some normally prevalent restriction and barriers, thereby effectively disallowing and preventing unforeseen occurrences. In otherworld these partly hidden grids and networks result in imposing due restrictions on the uncontrolled and uncivilized behavioral patterns of the various strata of the society in the relevant perspective. Obviously, these result in warranting the unduly free and restrictionless behaviors of various social characters thereby resulting in a harmonious and eventful but healthy trend in the traditional Indian culture thereby preserving our rich heritage and costumes in short, these grids impose purposeful obstructions and the resulting regulatory restrictive but smooth paths for the society. Obviously Koushal Choudhry has artistically created an effective amalgamation of these two striking features of our modern life i.e. overenthusiastic and eager about enjoyment of the worldly materialistic pleasure at the cost of our real life values and eternal pleasures. His work is a direct illustration in the clearest form of these present day life patterns with the clear intention of causing the due social awareness regarding the pros and cons of such pre enjoyment. In other words, he prominently lays emphasis on the hazards and evils vis-a vis virtues of these modern life cycle and enjoyment norms with a realist relevance about the present and future in the respective scenarios.
It is therefore, needless to state here that these new artistic adventurous endeavors of Koushal Choudhary will be liked and appreciated by alike due to their supremacy in creativity and the resulting visual effect achieved through apt synchronism of his innovative ideas, good harmony of apt colortones and there lyrical resonance and most distinctly, the unparalleled artistic quality of visual effects achieved in each work through musical rhythm, scenic highlight and also the overall assimilation of various ingredients obtained with clarity and brevity by the artist.
No doubt, one will surely enjoy his present thematic work with amusement and delight due to the indelible impression left on his or her mind and shall certainly look forward eagerness and optimism to his forthcoming artistic innovation and thematic endeavors mostly due to their simplicity, clarity, transparency and lucidity in all relevant perspectives of visual fine arts.
Desire is to merge my self in the wonderful colours of the ultimate creator. There remains no difference in him and me !
I am A-part of it, ECSTASY is to join him & gain the wholeness.
I am the colour, he is my canvas, wish to colour the canvas in my colour.
An urge to fill the space between us, so the colour and canvas becomes ONE to form a complete PAINTING
SOUL ….the Inner Power
Aim is to re-member the ultimate power, the God
either through dancing in ecstasy or creating any visual on canvas.
Our fantasies or attraction towards the materialistic world is the case of our rebirth.
Why-rebirth when we can achieve ” MOKSHA” in this life itself.
Let my soul bloom like flowers and be the Bridge between me & my creator so that I can feel the joy of “NIRVANA”
A mixed-culture that we live in today. Just look around and you can see the contrasts between today and tomorrow, traditional and contemporary–all coexisting hand in hand. Our cities today are a mix of heritage buildings standing tall along with futuristic towers. We live in state-of-the-art houses and cook traditional dal-chawal (pulse and rice).
And this is not just in metropolitans it exists equally in many small towns of the country. I have witnessed natural beauty and rustic sentiment of a small village in Rajasthan from the glittering glass windows of a ‘local’ shopping mall, and shopped for tribal handicraft from air-conditioned stores in suave markets of the capital city.
The contrast shines each morning when Delhi city wakes up to travel in the Metro Rail–the latest example of technology making life simple. What can be seen from the train are roofs of old houses where people are busy in their laid back early morning chores. The walls at metro stations depict mythological characters and pictorial narration of stories that our grandmothers narrated to us as kids.
Why go farther? A look at the clothing of my grandmother, mother and me narrates the tale of all diverse eras living together. I never saw my grandmother wearing anything other than saris. My mother, though traditional, prefers the more convenient salwar-suit. For me, well, until today I have never tried wearing anything close to their dresses.
A simple and more visually influencing example is of a city road, where I drive my car along side a cycle-rickshaw puller and a bullock-cart rider is busy taming his animal to follow traffic rules.
ps. Reminds me of William Shakespeare–All the world’s a stage, and all the men and women merely players.
… SO THE MAN CREATED GOD !
My Mother … was the only GOD for me in childhood for many years till she introduced me to the other GODs of TEMPLES, which as per her ALL the shows on earth.
As a kid it was very difficult for me to understand how ONE can do so MANY works at the same TIME ! So mother showed me different GODs with MANY hands !
In society we all have our own GODs in different forms and shapes depending upon our understanding and traditions.
But NOW my understanding with GOD is in its invisible POWER of CREATION, no particular shape. A magnetic effect which withhold together the entire universe.
Art HISTORY taught me that most of the GODs my mother worship visually were created by the great artist RAJA RAVI VERMA (29April 1848 to 02 Oct 1906)
. . . so, now few more forms for those who believe in shapes. After all it is the matter of FAITH.