Unconditional Embrace-i, 2017 Acrylic on Canvas, 43” x 30”
My art is an arising, and the space between who I am and my canvas is an emotive zone nurtured and fostered as if by a loving mother. I see my renderings as essentially selfless expressions that are beyond the mundane, beyond the tangible. My expression as an artist, propelled by my intimate and evocative engagement with my feelings, is as natural as the unconditional love that a woman embodies.
My artistic process includes long moments of time absorbed with exploring my mental imprints and literal sketchbook, gathering material to feed my imagination. I envision my figures holding complimentary and paradoxical contrasts in their asymmetry while maintaining an imperceptible balance of form and linear direction. Within these disparities within this intense and complex activity I find a calm presence of mind, a visceral presence, not an intellectual one. Thus you and I both can know in the moment of engaging with my artistic yield that the interdependence within these diverse images is as unyielding and firm as the whole composition, itself a unity.
The content of my paintings appears from the fluid space of memory, influenced by time, place and interpretive perceptions. As personal meaning evolves, the past remains tethered and with that the material surfaces as I integrate new observations and new knowing with what is known and invented from what was. By merging aspects of lived experience, observations of daily life and richness of potential scenarios I create figurative paintings that reflect a totality both visceral and designed. Notwithstanding the reliance on an overall framework or a compositional scaffold, my visuals are a materialization of a deeper spontaneity, particularly my choices around colors, textures, and their treatments. Relentlessly as well I explore, experiment, push technical possibilities, and search for more than that which meets the eye the world of the truly wondrous.
It is truly my life itself which is endlessly being persuaded by the larger life around me that reverberates on my canvas.
My wife, my sister and my mother, and their play with my child surround my being. I observe woman, no
matter how ornately jeweled or austere, to be a humanizing beautiful force that pervades my inner life. I become an apprentice to this beauty that brings new life, new life that I can play with on my canvas.
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Born: July 20, 1974, Osmanabad, Maharashtra, India
Since 2003 Faculty Member, Chitrakala Mahavidya, Nashik Kala Niketan, Nashik
Assortment of demonstrations on various painting/drawing methodologies and techniques at
numerous colleges, institutions and arts organizations.
Participated in various art camps in India.
Many public and private collections in India and abroad.
Methodist University, Fayetteville, North Carolina, USA – October 2017
When I visited Sable’s studio and home in my first venture to engage with his art, I discovered an extraordinary, soft spoken artist one who offers his exquisitely detailed drawing in a gentle ploy to bring the viewer in and then closer, to look at his work and then linger to contemplate. Mother child happenings within their day-to-day living environment are a prevailing theme. “The scenarios in my work are recreated from my everyday observations and what I experience empathetically through these reflections”, Sable says. He continues: “when creating, I am thinking of the relationship they have with their surroundings; the women I describe celebrate life in its beauty and pathos.” Yes, he simplifies his figures, but not to the extent that they look otherworldly they are still earthbound and evoke the nurturing qualities of the earth they spring from.
An active painter for a couple of decades, Sable’s personal touch at the deepest level can be sensed from his thoughtful compositions. The bright colors forge a foundation for his expressive, even monumental figures in dynamic design. He spends hours sketching configurations upon conformations, manipulating, restructuring, modifying, until the incipient puzzle of an embryonic composition, replete with diagonals, begins to emerge. With his flawless design skills, Sable juxtaposes large areas of negative space and sometimes patterns with details evocative of Nature. His work is idiosyncratic if any thing, yet intellectually configured and full of layered intensity, which allows the viewer to sense the bigger dialogue that ensues. The mood is whimsical and foreboding, with the seemingly romantic as a metaphor or suggestion of a state of being. Moreover, he does not shy away from experimentation now we might see a bright colored field on his canvas, and in the next one we might be faced by neutral shades. Even in his technique one encounters the unusual: he has a way he creates texture and pattern within certain compositions by ‘knife-scraping’ literally scraping off color from a painting knife.
He is widely celebrated as the creator of large innovative figures, distorted, broken and re-arranged in a manner like Picasso did in his cubism. His figurines seem to be in perpetual flux and teetering on the brink of falling out of fashion yet the quintessential figure in his work is robust and evocative but at the same time formidable and resilient. Picasso depicted the human body in a manner that eventually dispensed with realism, making way for abstract art. Sable’s stylistic sensibility is reactionary in a comparable manner as Picasso’s cubism: inoculating new ideas into the age old perennial feminine form stripped of realism while arriving from it.
The science of linear perspective and the methodical grammar of the classical canon of the human form was created in Europe about 200 years before the Moghuls built the Taj Mahal in India. We see no trace of these principles expressed in Indian classical or traditional paintings, be it the Moghul paintings of 16th century or the Madhubani paintings that flourished later. Not until the advent of the Bengal school during the British Raj at the dawn of 20th century do we see any real appearance of these principles in Indic art. Towards the middle of the century, Indian art gradually veered into two vectors one was based on the traditional that now included the principles mentioned above and the other embraced the modern imagery of abstraction, free of any objective reality. In the practice of figurative art, the greater dilemma was to stay true to the traditional while conjuring modernity, incorporating the stylistic ethos of the contemporary, the zeitgeist of modern India. This is one of his many triumphs: Sanjay Sable brings a present day, contemporaneous reflection to his beautifully rendered figures that stridently announce his personal exploration in finding his own voice from amidst the clamor of both the traditional and the modern. A true artist is one who has the courage to get outside of his comfort zone and this is the womb where true masterpieces gestate. This courage then is one irreducible primary that Sable and his work stand for. Courage breeds authenticity. Courage does not seek to please the audience it seeks to reveal the way of the artist and how s/he sees the world. Its vocation is to make people ponder the bigger unspoken questions and consider their own reality.
Sable exhibits his work in significant galleries across India and beyond. Where did history begin? Sanjay Sable originates from the rural town of Osmanabad in Maharashtra. He comes from a family of grain farmers. His father’s and uncle’s drawing ability, an obvious source of influence on him as a child, generated his abiding interest in art through his growing years. His educational pursuit took him to the city of Pune, where he attained his formal training at Abhinav Kala Mahavidyalaya with a Government Diploma in Painting (G.D. Art). He continued his educational quest with an M.F.A. (Master of Fine Arts) at Ojaswini Fine Art College of Jalgaon and a Diploma in Art Education from the reputable Sir J.J. School of Art. Earning distinctions were an ongoing aspect of his formal education just as abundant have been the accolades and wins in professional exhibitions and juried competitions. Given his gifted ability and colossal hard work we can come to expect great recognition. His work has received distinction in many premier art exhibitions, including the Bombay Art Society, the Art Society of India, Maharashtra State Art exhibition, and the prestigious Harmony Art Show of the Reliance Industries. Sable continues his artistic research with an active studio practice, and while also assuming the role of a Professor teaching at Nashik Chitrakala Mahavidyalaya in Nashik.
Sable’s remarkable new body of work makes the case for the relevance of figurative painting in the 21st century, currently subject to a prevailing modernist abstraction. He identifies an alternative tradition of potent human-centered paintings, featuring women in particular, that is relevant and unique to his sensibility and passion. These are his empyrean revelations that we have the privilege of interacting with and being in conversation with. The exchange is triumphant and magnificent, and thus we are midwifed into a greater humanity.
Kashi - Sugandh, Pavansut RH B /1,
Near Shri Krishna Hospital, Tulsi Eye Hospital Road, Anand Nagar,
Dwarka, Nashik, Maharashtra - 422011, INDIA
Mobile : +91 98604 19393
Email : email@example.com
Website : www.SanjaySable.com
Professor Raghunath Kulkarni (President), Nashik Kala Niketan, Nashik
Emeritus Professor Janardhan Ranaware, Sir J.J. School of art, Mumbai
Professor Vilas Tonape, Methodist University, USA
Shri. Charuhas Prabhakar Kulkarni, Nashik
Sir J.J. School of Art, Mumbai
Chitrakala Mahavidyalaya, Nashik
Abhinav Kala Mahavidyalaya, Pune
Ojaswini Fine Art College, Jalgaon
Chitrakala Mahavidyalaya, Latur
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