- by Chandralekha Basu
___________________________________________________________________
Even intermittent creativity can produce memorable canvases, which are not merely aesthetically satisfying but also serious enough to provoke the viewer to reflect over the human condition. Sheila Malhotra, the painter, admits that she is neither prolific nor ceaseless, but this has in no way undermined the quality of her oils. In fact, she has been judicious and selective and her chosen response to themes and events has led to canvases like ‘War in the Gulf’ ‘Exodus’ and ‘War and Peace’, which impress as well as disturb the viewer. This critic was struck, in particular, by ‘Exodus’ (from Kuwait) depicted with the help of birds flying helter-skelter in dismay. The winged creatures in ash, white and black against the somber background of the sky evoke the human tragedy in full without showing a single human face. In pointed contrast to this stands ‘War in the Gulf’. From the blackened yellow of the desert shoots out many gray, outstretched hands holding agonized ashen masks. If the former was symbolic this is almost surreal in its foreboding and terror.

Violence seems to be the leitmotif. Not only in the war canvases but also in ‘The Prisoner’ and ‘I Want Freedom’ where tyranny is stifling the human body and spirit. Once again yellow with dashes of green predominate and they recreate the grim prison walls. Either the hands are stretching out to seek freedom or despair is writ in the eyes, underlining the dialectic of liberation and confinement.


But the same yellow takes on the hue of soft, hopeful effulgence in the canvas ‘Chaitanya Mahaprabhu’s Sankirtan’ where in place of violene and war we witness the bliss of serene devotion. Sheila Malhotra’s creative engagement is mature enough to portray violence and devotion, war and peace, prison and freedom and a viewer would have the chance to judge for himself on May 8 and 9 at the Gallery, Conclave.

________________________________________________________________