Maitri, or universal friendliness, is at the core of the artworks displayed at the Lalit Kala Akademi in Chennai. Titled Becoming: Weaving the Commons, the exhibition of paintings by Natarajan Gangadaran and S Venkatesan serves as a bridge connecting the specific, lived experiences of the marginalised to spaces that have largely neglected them. Curated by educator and curator Prema Revathi, the exhibition, which began on October 26 and ended on November 1, was presented by filmmaker Pa Ranjith’s Neelam Cultural Centre.
The paintings serve as a direct and powerful retort to the art world, which, like the entertainment industry, often prioritises shallow spectacles and fleeting trends over meaningful social commentary, particularly on the pervasive issues of caste, gender, and social inequality. Becoming, in contrast, focuses on translating the art of the Dalit experience into an accessible global language of equality.
Of the two artists featured in the exhibition, Natarajan Gangadharan is a master of Indian pigments. He uses specific Indian colours on his canvas, drawing inspiration from the vibrant recollections and physical landscapes of Thiruvannamalai. His works reflect a deep respect for the environment and a hope for the harmonious coexistence of humanity and nature.
“I connect with nature the most, and I believe that humans are just a part of nature. The world is not made solely for them; it is made for trees, plants, birds, animals, humans, and all living and non-living things. Human beings often treat the world as if they are supreme and that it revolves around them. My work opposes that idea. The world is meant for everyone, regardless of caste, community, gender, species, colour, continent, borders, or any boundaries,” says Natarajan.
He adds that it has been difficult to present the kind of art he creates in public forums. “Those who are privileged often do not understand the hardships of creation and delivery because they have not experienced anything akin to it, nor have they been labelled with a burdensome identity. For example, installation art was originally designed as a voice outside the gallery, but now it is often found inside galleries. Most artworks do not resonate with the artists they represent, yet they are displayed. This perpetuates a ‘divide and rule’ mentality, which I do not appreciate.”
The other artist, S Venkatesan, is a staunch traditionalist who rejects the ease of modern tools and electronic techniques. His realistic pencil drawings capture the “joy, struggle, and humanity” of North Madras street life. Venkatesan’s style of “fragmented abstraction” is characterised by stark, expressive compositions, often in black and white, punctuated by a single, bold stroke. He is a strong advocate for preserving original artworks and methods. For him, art is a powerful means of cultivating critical self-awareness and reclaiming a history often suppressed by dominant narratives.
“I am forced to label myself as a category artist. We did not choose this label; society imposed it upon us, and of course, the treatment we receive is second-class. I am not saying this is a problem for us. It highlights the insecurity of those who label us as ‘other artists.’ Nothing has changed in the past 30 years. People still struggle to accept the ideas we present because they challenge their perspectives and the narratives they propagate. I am always confident in my art. I do not seek attention or make noise. I am content and will continue my journey in this way,” says Venkatesan.
The collaborative project of the two artists is a dynamic and moving visual declaration of Maitri, envisioning and constructing a world where everyone belongs.