And these paintings are the product of a daylong workshop conducted by the Women Artists’ Group of Nepal (WAGON). Known for their advocacy for the upliftment of women artists of Nepal, WAGON proves that it is not some sort of feminist group, but has space for both sexes.
In their fifth workshop, the organization has included male artists. And as a result, the art exhibition titled “Women’s Role in Today’s World” presents an impartial perspective on the roles played by women around the world.
Defying such terms as “woman” and “man” artists, senior artist Uttam Nepali said at the inauguration of the exhibition, “Terming an artist as female or male artist itself is a discrimination.” He funnily added, looking at the duties performed by the women artists, he did not find them as women but some strong personalities.
Sangeeta Thapa, curator of Siddhartha Art Gallery at Baber Mahal Revisited, and the chief guest of the event, emphasized on the oneness of being Nepalis, and not breaking into smaller sections.
Inaugurated on August 2, the painting exhibition has been able to include 25 artists from three different generations. Senior artists such as Uttam Nepali, Birendra Pratap Singh, and Gehendra Man Amatya belong to the first group while the mid-generation artists are represented by Ragini Upadhyay Grela, and Mukesh Malla; and the younger group has Bidhata K.C, Bipana Maharjan, and Sangee Shrestha. All their works can be viewed under the same roof.
Speaking at the inauguration of the exhibition, President of WAGON Ragini Upadhyay Grela said, “There must be some reason behind my birth. And I feel that being vocal about the issues and rights of women’s are the reason behind by being.”
And Ragini has been able to do so in her painting that hangs on the right corner of the gallery. Her work throws light on a grave issue, which most women have not yet realized but, with hope, are in the process of comprehension.
The woman in her painting is surrounded by locks – and lots of them.
“Women have locked themselves within their homes,” observed Ragini. And for this, she believes that not only the patriarchal society is to be blamed but women in the society as well. “Women aren’t respecting other women. What we should realize is that respecting other women is respecting yourself,” added Ragini.
And the irony is, the key to unwind those locks and emancipate her from the present social boundaries is within the woman herself. And it seems like the woman in Ragini’s canvas is wondering whether she should break free from her social hidebound traditions as given obligations.
A few paintings, like that of Bidhata KC’s, may evoke the feeling of incongruity if compared to the title of the exhibition. But as the artist elucidates her abstract idea of a singular leaf, and draws analogy between the small unclear veins of the leaf and the state of woman confined to the societal and cultural boundaries. This particular painting is surely one of the outstanding works inside the hall.
“Like the veins are trying to break free from the leaf is akin to the condition of today’s women,” added Bidhata.
Apart from Bidhata’s painting, some other eye-arresting works come from artists such as Kishore Nakarmi, and Shyam Sundar Yadab. Shyam, through his Mithila style of painting, has brought forth the popular saying, “Men and women are the two wheels of the same cart” of life.
Among the variously vast roles that women in the present context are performing, mainly in Nepal, Erina Tamrakar’s painting of the Kumari, the “living goddess” of Nepal, helps us remember one of the enduring institutions carried by a Buddhist Newar girl of a young age for the country’s overall Hindu traditions.
The array of colors that varies from soothing light pink, which helps the viewer feel the softness and sensitiveness of woman, to bold red used to paint Goddess Parvati, which depicts the strong stand of women in society, are used by the artists.
All the paintings are done in the acrylic medium because of the workshop atmosphere.
On its own, besides hosting their regular art workshops and exhibitions, WAGON has been advocating for the rights of Nepal’s women artists. For their aims and objectives, WAGON has even knocked at the Supreme Court’s doors recently for fair representation of women in the Fine Art Academy, and the case is being studied by the apex court for ruling.
(The WAGON 2009 exhibition will run upto September 2.)
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