While walking around streets, crowded places, cities, markets, I observe different faces full of the essence of life. People from various places come together in metro city like Mumbai. Behind their dreams, I see the process of displacement which is reflected in my work. Like any philosopher or scientist, as an artist, these observations stimulate me. ~Puranik ShrikantIn my everyday life I came across many homeless people, I am also struggling to new space for my studio. Recently I bought my studio apartment. While searching for place I came across builders , estate agents, government officers, land mafias. At the same time at Seria and other global migrations are in news. My works are reflections of these daily observations.In my recent works I am using geometrical or architectural form as metaphors for the breaks in human existence which occurs due to displacement. This addresses issues of relationship with a country of origin, land concerns, ownership, identity, new colonial imperialism, xenophobia, displacement, refugees, utopia and dystopia within rapidly changing social constructs.The aesthetic of my works can be determined by the exposing of structures and a search for the unstable and fragile in the seemingly fixed. I am trying to depict time-determined problems, damages and mental state woven into the fabric of our contemporary living environment and existential problems, in an attempt to elicit the unseen poetry from the spaces that I work with.At this point, as an artist, I am making images that are able to germinate thoughts in a curious observer. I am not taking the position of a radical social worker or an activist. Rather, I am working to generate a miniscule amount of thought, a doubt in the onlooker’s mind, which may or may not be replete with various kinds of prejudiced opinions about society. My work is to locate the people who, like me, are ready to step a little aside and renew their ways of looking and thinking. Painting, or an artwork, cannot be a form of escape from reality, it does not beautify the world, making it acceptable for visual consumption; rather it beautifully reveals the harshness and cruelty of our own existence.
I am deliberate in the use of images in my work from different sources. Like I photograph my own drawings and paintings then even digitally manoeuvre the images with geometric figures, images form master’s artwork especially for digital works. What I am concerned with is combining two or more images that have existed separately, in such a manner that allows the formation of a new meaning; a visual intersection not foreseen by travelling the obvious route. There is also, I suspect a form of envy at play here, a longing for the simpler, more emotional processes. Work, for me, thus becomes an attempt of fusing both history and metaphors into a spectacle, both present and visionary. Imagery created through selection, isolation, framing, juxtaposition, foregrounding and so on which unlock the rest of its narrative flow of imagination. I pick an image that has a potential to be easily read at many levels. The format of my work also accommodates content towards narration.