This exhibition was also exhibited and hosted by Musee de Guethary, France, under the Festival of India in France, 2016 in collaboration with the ICCR, the Embassy of India in France and Akar Prakar.
Manish has attained substantially in a very short span of time; he has evolved a new kind of visual grammar. He is constantly harnessed to a sense of penance and meditation. A number of his painting series in which the characterisation and sensitivity demonstrated towards pictorial interludes are completely varied, have appeared. It is my opinion that he is now moving ahead from whatever he has done till now. I have been looking at all his recent work, everything he has done in the past few months, in the last year. He is moving ahead as if there is no end in sight. This is a search, an exploration that he himself has to be alive, has to take forward. It is very possible that this search will take him to a white canvas. And once again something will emerge from that white canvas.
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Some of Manish’s paintings are illuminated by a certain brightness. The five elements are alive and energised in a unique way in his work. Absolutely. Sometimes they are not five, just two or three, with the others taking smaller, subsidiary forms. There are five elements – black, blue, red, yellow and white – and through their conjugation, as created by him, they appear in a distinct manner in his work. In his paintings one will not find a pure red or blue or yellow: what appears is elevated form. The colours emerge in an extremely soft manifestation. A state of transcendent sublimation. What is present there should be seen. This is his way of seeing. He sees in a way that even the camera doesn’t. This is imagination, the vision of the soul. Let us see what forms and shapes of his creation will be discovered ahead.
– S H Raza
Each significant artist has a vision of life, art and reality. It need not be a vision which is predetermined; significance demands dynamic change, new transformations and accretions. An artist without a vision could be of no interest. But an artist with fixed vision could hardly be expected to produce significant art. Even at the risk of some simplification, one could say that Manish has a vision where art is a continuum of discovery; that the act of discovering in art is an interminable act. For instance, take the area of colour. Manish is hardly ever satisfied with given colours. He is in constant search of colours. He hardly ever allows the colours of the tubes to exist in their original hues. He puts a layer of colour and runs if off taking care that it does not disappear altogether, after layers of doing so, eventually we arrive at an unidentifiable and usual texture of colour, indefinable by any conventional name. In a way he seems to be seeking colour beyond colours; colours which are created by connections with other colours; by intermingling, submerging, inter- penetrating; by overlaying, as it were hiding behind other colours, as if he is trying to discover his own distinctive colours – not one, but many, to embody his pluralistic vision. In his paintings you could clearly see that they basically are constituted out of the remains of the wiped off layers of colours. The aesthetics of the work is integrated through the remains of the wiped off. Form, shapes, colours, textures are all being discovered, and hopefully the meaning too. There is perhaps the degree of humility in evidence here: the artist does not so much create as discovers, his creativity resides in discovery.
– Ashok Vajpeyi[/read]