Painting titled "blank peasantry" by Rajan Krishnan, Original Artwork, Oil

blank peasantry (2010) Painting by Rajan Krishnan

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Original Artwork Painting, Oil

Artworks classification

Original Artwork

Original Artwork refers to any work that is considered authentic and not a copy or imitation of the original works of an artist. Original artwork can be any type of painting, sculpture, performance, or other media. There are many types of original media. Mixed media includes oil, acrylic, and watercolor paintings. For workshop paintings that bear evidence of master craftsmanship, this attribution must be further qualified. While they may be less valuable for different reasons, reproductions and copies have had a tremendous impact on our experience. They reach a greater audience than originals and act as a tonic against commodification. Original Artwork could also refer to the first work, which is always preceding all others. It could also refer to a prototype or a model from which other works can be made. Each work bears great similarities to the original.
Dimensions Height 108in, Width 144in

After completing his MFA in painting at the Faculty of Fine Arts, M S University, Baroda, Rajan Krishnan made a conscious decision to return to his natal state of Kerala to further hone his painterly practice. Krishnan's work bears a direct connection to his locality and his canvasses often reveal an intense interest in the dialogical possibilities of painting. In keeping with this, for nearly a decade, he has actively explored the relationships between history and memory, the natural and the human-made environment, and the collective and the individual. His post-apocalyptic canvases of 2006-2009 tended to cloak decayed landscapes and fragmented land forms in an earthy palette to create visual cautionary tales about the dangers of unbridled development but, since 2010, he has abandoned the sombre in favour of the spectacular. Although his recent work continues to explore dualistic possibilities, he has now set his sight upon pitting the general against the specific in mammoth-scale studies of singular objects. Defying the typical methodologies of large scale paintings in which the broad strokes of the brush typically efface the finer details, Krishnan holds tight to the discrete elements, as a means by which to call into question both the logic of vision and our understanding of large scale representational practices.

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Painting

Rajan Krishnan

India

Rajan M. Krishnan was born 1967, in Thrissur district, Kerala. In 1989, he did a Bachelor’s in (Economics) from Calicut University, Kerala. After which he decided to follow his true calling and signed up for a B. F. A. (Painting) at the College of Fine Arts, Thiruvananthapuram. He completed his Bachelor’s in 1994, and thereon pursued a Master’s degree at the Faculty of Fine Arts, M. S. University, Baroda, which he completed in 1996. His first solo, Little Black Drawings, Mounted in 2004 at Kashi Art Gallery, Kochi was very well received.

One of the few Keralite artists who decided to go back home and work from there, Krishnan’s art has always been very sensitive to his environment, reflecting the socio-cultural ethos he inhabit and works from. Krishnan uses landscapes or elements from his immediate natural environment as his “principle protagonist” to express his innermost, aesthetic proclivities whether in celebration, homage or protest. While his earlier works were more realistic, featuring land/agriscapes typical of the topography in Kerala, of late however, his imagery has changed significantly. Krishnan works in a mode of realism that is significantly not based on images culled from the media or photographs made by the artist, his hyper-realism instead draws from memory, impressions, nostalgia and a sense of one’s shared inherited histories. Representing a “post-agriscape”, his later works are often, bleak, fragmentary visions of a dry, sterile landscape that seems to be an echo of a time which once buzzed with activity. “Instead of paddy, concrete and consumerist debris grow in these fields.” While his early experiences and memories of growing up in a remote village in Kerala have had a strong presence in his early works this slightly sentimental nostalgia, now seems to be giving way for a more hard hitting, cynicism that strives to document the sudden and overwhelming transitions occurring in his environment (that acts as a microcosm for the state of affairs in the country at large). These works make a clinical, examination, up close and unforgiving, at those “un-done landscapes” that he once held so dear.

The artists lives and works in Kerala.