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拍品专文
In 1987 Jogen Chowdhury left Delhi and moved to Santiniketan. The move seems to mark a change in the style of his work. His line becomes bold and free and his canvases in particular show a simplification of composition. The brilliant colors associated with the rural folk art traditions of Bengal begin to appear in his work, and two-dimensional linear forms set into bold planes of background color replace his earlier sculpted forms.
Characterized by his elongated, amoebic figures and preference for highly decorative surfaces, Chowdhury's art draws equally from the natural and the psychological.
This work is a curious mix of still life and movement that contributes to an almost hypnotic effect. As the artist states: "There is also a tremendous power in the stillness of an object. A force that is no less than apparently an object in great speed. Stillness is a form of a speed while not in force. It has the possibility of the force in a different form." (Geeti Sen, 'Reminiscences of a Dream, Jogen Chowdhury', Image and Imagination Five Contemporary Artists in India, Ahmedabad, 1996, p. 62.)
Characterized by his elongated, amoebic figures and preference for highly decorative surfaces, Chowdhury's art draws equally from the natural and the psychological.
This work is a curious mix of still life and movement that contributes to an almost hypnotic effect. As the artist states: "There is also a tremendous power in the stillness of an object. A force that is no less than apparently an object in great speed. Stillness is a form of a speed while not in force. It has the possibility of the force in a different form." (Geeti Sen, 'Reminiscences of a Dream, Jogen Chowdhury', Image and Imagination Five Contemporary Artists in India, Ahmedabad, 1996, p. 62.)