In the quest to unravel the mysticism, artist Vineet Kacker brings his new solo exhibition –“Should I look for You, Should I lose myself”, which is based on the artist’s personal engagement with mystical philosophies.Vineet’s exhibition is on ‘Silence –Violence’, which explores the seeds of violence and silence, present within every human being, ‘Topographies of a Formless World’, which is the artist’s representation of a formless world best understood from an elevation, ‘Sacred Geology’ which is an ode to seemingly inanimate rocks which turn into sacred objects, when invested with a certain amount of energy.His other creations which are on display are ‘The Architecture of Dissolution’, a series of Stupas that are reliquaries built for ones who have been able to attain a state of dissolution of their individual identity, ‘The Indeterminable Distance between Aspiration and Alchemy’ are tableaus that are travelogues through an indeterminable landscape, ‘Caveman Chronicles’ are self-portraits exploring the meditating self. Science maps human evolution and yet it can be argued whether man has really evolved from the hunter-gatherer mindset, ‘Time-Timeless Landscapes’ in which the lines on the organic rock forms serve as a record of accumulated time and history, and the stupa form on top references the quest to go beyond the limitations imposed by the notion of time.Talking about his inspiration behind his work, Vineet says, “My work is inspired by my travels through the high Himalayan regions - by walking through the landscapes of Ladakh, Spiti, Bhutan, Nepal. It draws upon art and architecture that references the sacred. Though not aligned to any particular established tradition or religion, the work is born out of an active personal engagement with eastern philosophies. It is also inspired by the organic nature and incremental growth of informal street shrines all over the Indian subcontinent, where associations of faith, often contested, have the ability to transform the meaning of ordinary objects."A ceramics artist with formal training in architecture, Vineet feels that in all spiritual traditions, two distinct paths are suggested to those who are thirsty to know that, which, in its essence, is unknowable. One is the path of prescribed practices, guiding rules and tenets. The path of “gyana”, or knowledge, uses engagement with spiritual texts and practices to gradually deepen the understanding of the practitioner. The other path is the path of “bhakti”, or devotion." “While the work may be based on an engagement with certain ideas and philosophies, the actual process of making is very tactile, very alive - one in which the maker can, in a sense, take a backseat to the process of creativity. I enjoy this direct engagement that clay as a material affords. For the duration of my time in my studio, I am in another world. Its only later that one assembles the different parts, or engages with other processes like firing, incorporates other materials - one witnesses an idea, almost ephemeral, being transformed into an actual tangible work,” Vineet says while talking about what fascinates him being an artist.Vineet is curating a residency of site-specific clay sculpture in April, with participating artists from India and abroad. Other than that he looks forward to work in the studio towards new commissions, several group exhibitions, interspersed with some travel.The exhibition is taking place at the Gallery Art Positive, Lado Sarai, New Delhi and will continue till February 29th.Follow@ARTINFOIndia
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