Aelay Laxman

Laxman’s vibrant quasi-realistic paintings and arduously drawn imagery evokes a sense of apprehension and nostalgia. His men and women in typical Telangana attire proclaim their cultural identity. The ‘Images of Kadirenigudem’, an account of his native village, from where the representation of Telangana life in all its vitality becomes his visual idiom. He peeps into the streets and explores the tiny houses for beautiful young women and their routine activities. People occupying his earlier canvases are by no means extraordinary; they are the hard working village folk, farmers or shepherds. His ‘strong’ women often engaged in domestic settings compel the viewer’s gaze into their world of constant struggle and compromise. What makes Laxman so special is that the nativity is brought forth with devices of narrative weaved within a narrative, juxtaposing bustling human activity in mundane world. In the context of Telangana regional identity, his potent expressionistic images seem to arouse a kind of socio political consciousness. The paintings at his very recent series ‘Fellow Travellers’ demonstrate highly skillful renditions of portraits layered with imagery taken from folk arts of Nakashi, Kalamkari, Paithan etc. These hyper realistic images are built and rebuilt over multiple layers of motifs that burst from his subconscious memory revealing predicaments of oppressed people.

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