Awadhesh Misra

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Awadhesh Misra

Email: awadheshmisra (at)  Site:


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Symbolic Edges.
By M. Balamani

Awadhesh’s art expression can ‘clean bowl’ you, if you view those compositions on the abstract or cubist’s language mould and time bound. He displays many meaningful symbols on the merging edges. There is a visual harmony on the color combinations and compositional sensibilities. No canvas offers sudden jerks and shocks on the journey of color combinations. He travels gradually from lighter to darker hues or other way. If he chooses brown tone for one canvas, the whole palette mix will be on the lighter yellow to darker brown. Similarly purple hue does not mix with green tones. There is a perfect sensibility of color choice.

Abstract language and cubist forms seem to be choice of vocabulary alone for forming the visual statements. Misra’s expressions open many directions to think. His visual statements are on certain themes and talk about the Indian rural landscape, festivals and rituals. His compositions are communicating the pleasantness of unbound and open nature and the mutual relation of life with it and within it. One becomes emotional on expressing the life of one’s own native place and landscape, feels boundless happiness while memorizing their land’s culture and practices. It becomes hard to find analogy to explain that unbound happiness. That emotional communication searches a language that can express the similar formlessness and abstraction in communicating those boundless feelings.

Geometric symbols like circles, squares etc keep appearing in his compositions. They are not suggesting the meanings of those painters choice who talk about the figures of Tantric -Bindu etc. These symbols are not even to fallow the cubist’s language. They seem to be suggestions of peep windows. These windows are suggesting us to view a rural landscape, understand the depths of life. They are suggesting a small piece cut from the larger object to reflect that complete form.

Green fields or birds are suggested by few brush strokes. For eg, a parrot or a blue jay bird may not be a direct suggestion from the figure represented. The pleasantness of its green or blue is spread on the surroundings of that bird. It is to suggest that specific season and the pleasure to sense the essence and colors of that season. There are triangles and longer lines to represent certain figures. They are suggesting the human forms that are probably wandering in the dreamy world or engrossed in their work. Forms appear known as well as unknown figures, relieving themselves from the objective meanings to inform the abstract meanings.

Some compositions display half black canvas and another half with colorful forms. Are those compositions suggesting that pain and the pleasure are together, darker night has to fade away to open the window of bright mornings to wish us a wonderful day. Many such abstract meanings are generated from his visual statements. Such abstract meanings suggest that one should travel on a philosophical path to understand the known world to feel that unknown celestial world. His suggestions travel between two opposites and in between two distant codes. Language might offer smooth journey but not the meanings. They make you to swing between the opposite poles. Narrations are embedded in the day to day life experiences but the expressions are sensuous.

He is a writer too. Speaker or writer perceives an object and interprets to communicate in verbal language. That interpretation searches a reasoning and evidence to explain. Art expression is an expression of emotions and feelings. That does not fallow any reasoning. There is always a search to express the exact emotion that might go beyond the rational and defined grammar. Amazingly Awadhesh can shift his expression on brain chambers from reasoning to unbound emotional communication. Rationality is one such strong element and influential always searches the evidence even at the sub conscious levels. A writer in the Misra too is searching for that. His rationality very well settled on the abstract language to express the unbound essence of the true nature but not offering a visual feast of that rural landscape of one’s memories. That has occupied the back layers on the expression. If we classify our appreciation towards his compositions, that has three categories. Rural life and open fields as an object taking the back seat, middle layer of appreciation should be given to that feeling of unlimited nature in one’s perception and priority appreciation should be given for abstract language.

There is a pun in his painting compositions. He is explaining that other world through the ‘absence-presence’ and negation methodology. Absence of form itself is suggesting various meanings. Choice of abstract language and not opting for titles for the compositions is symbolic. This is a specific way of ‘philosophizing’ the mediation of meaning. That is mediated through the absence of form on the screen of imagination. Here the negation of form on the abstract visualization is superior to completing the form. Not presenting the objective figures, are creating more impact than the presence of forms. Negation of figure is withdrawing the vocabulary of real and objective world. That is playing a double strength to know the fuller picture for imagination and craving to know further on that abstract world. There is an edge and shadow on such kind of expression to stress the sensuality, spirituality while creating such visual dialectics. Misra’s abstract language is to suggest the ineffable to renounce the aesthetic by playing lesser attention to pictorial to create the dreamy world.

Balamani M
MS University, Baroda
7th Jan.2007.

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