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Satwant Singh-Biodata

Thursday, June 18th, 2009

Savage Garden- THE ART OF SATWANT SINGH

  • Only the other day there was a lecture by Khushwant Singh coinciding with an exhibition of cartoons and drawings on him by Satwant Singh. It is not that these two share merely the ‘want’ ending in the name, and also the surname ‘Singh’, which was the reason for organizing a joint programme for the twosome. There were other reasons for bringing them together. There exists an undercurrent of creative semblance between the two which may be termed as a relationship of contrasts. Khushwant is eloquently frank, and occasionally even bellicose in his creative expressions. With a preference for the metaphorical means of visual statements, Satwant stands as a contrast, and he is hardly aggressive. However, howsoever different they might be in their approaches to creative expressions, their goal seems to be the same- to point the accusing finger at the inconsistencies, frivolities and hypocracies of life. Satwant is not intolerant, but he is steadfast in his conviction and commitment.
  • The inner strength of firm silence perhaps has drawn Satwant towards drawing which became his preferred means of expression. The drawing of strength from within is verily the essence of the art of drawing. It is not without any reason that Satwant revels in drawing. He rightly thinks that the structure of visual language should be well founded in order that the communication could be explicit and evocative. The strength of the structure of the visual language primarily depends on the effective manipulation of the lines of the elemental forms. This explains why the creative craftsmanship of Satwant’s visual language is lavishly careful about the drawing of the lines.
  • The frequently made statement that drawing is the forte of the art of Satwant is too general. Although such a statement does take note of the resources of the artist, it does not usually point to his expendience in management. To us it seems that Satwant does not possess a vast repertoire of drawing means, but their imaginative distribution commensurate with the nature of the tools being used yields him unaccounted dividends. He has a caressing way of handling the pencil, pen and even the brush, while making a drawing. The lines in his drawing seem to emerge, as it from the hibernation. Often his lines are bold and cursive, but they seldom are devoid of poise and elegance. However, it is not that his drawing bears any sophisticated aloofness. With occasional smudges of ink or colour, the forms in his drawing breathe an air of mundane familiarity. The manipulative variegation in the texture of the papers that Satwant has been using is another area of his merit.
  • The content of Satwant’s art is distinguished not merely by the subject matter or the so-called theme, but more by its thought-provoking treatment. The animaldom forms the recurrent imagery in his art. However he has not seen animals as bestial creatures; to him they are the loristic characters still active on the contemporary stage impersonating as human beings. To bring this analogy home, Satwant represents these characters as symbols, metaphors, allegories, and even as figures of speech. One might think that these animals in Satwant’s art are the visual equivalents of the Panchatantra tales. The correspondence, if at all, is merely marginal. Satwant’s characters, unlike those in fables and legends, do not involve themselves into an anecdote having a beginning and an end they just appear in the scene to make a comment on a particular issue of contemporary relevance. But they hardly make blatant statements; they invariably speak in a subtle but penetrating manner. At some point of time the visual verbalization of the animal character ceases, or rather is transformed into the voice of the artist himself. This indeed is the magic that is the art of Satwant!
  • Of the animal metaphors those of the goat and the monkey seem to fascinate Satwant the most. Not perhaps without a reason. The former is a symbol of innocence which breeds resigned tolerance, and the latter represents crafty alertness for subverting aggression or indifference. Satwant’s visuals weave an interplay between these two elemental human characteristics. He sees the world as belonging to neither of these two extremes; to him life is like a flux contributed by an amalgam of the two. Although Satwant does not construct a story, so to say, and refrains from projecting a moral out of his visuals, his drawings and paintings are basically narrative in the intent. He does not want the viewers to resent or to revolt, nor does he advise them to lick the wounds. With intimate sympathies he shares the pangs of human sufferings and social exploitations.
  • The recurrence of the doll motif is a distinctive feature of Satwant’s art. The nostalgia of the lost childhood seems to be the metaphorical meaning. But the decoding of the metaphors is perhaps not a linear process. The vertical and horizontal crisscrossing of blurred memories can lead one to an area other than that of the juvenile. The doll might well be a metaphor of the imposed compulsions that often turn a man into an inanimate plaything in the hands of the mafia. Occasionally, Satwant’s drawings and paintings show a sparing use of calligraphy. The visual scribbles generate the sense of an echo emerging from unexplored distances which are equally relevant to the contemporary and to the hither.
  • The pertinent question is whether Satwant’s art has distinctively Punjabi character. It cannot be denied that his works bear the stamp of a rustic boldness and a pastoral lyricism. This, in our way of seeing, is the Punjabi heritage that has moulded the creative personality of Satwant. There is no dichotomy between the folkloristic Land of the Five Rivers and the technologically advanced Punjab of the present day. Creative artists like Satwant are doubtless the thread bearers from that end to this.

Dr. D. C. Bhattacharyya
Eminent Art Historian and Critic

Educational Qualifications

  • Graduated from P.U.Chandigarh.
  • Five years Diploma in Applied Art from Govt. College of Art, Chd.
  • Received merit Scholarship throughout the duration of this course.
  • Former HOD Design Faculty, GCCIW, Chd

Awards:

  • AIFACS’s Cash Award.
  • 50 years of Art in Independent India. Punjab Lalit Kala Akadami, State award, Annual Exhibition.
  • Chandigarh Lalit Kala Akadami, Chandigarh, Annual Exhibition Award.
  • All India Exhibition of Drawings organized by TIAS, Medal and Hon. Mention.
  • Best Designer Award by N.C.C. Directorate, New Delhi.
  • National Book trust award in cartooning an illustration.
  • Shankars Award in cartooning contest.
  • Cash award Hero and Avon Cycle cartoon contest.
  • Cash Award Environment society of India in Poster Competition.
  • Cash Award Haryana Dept. of Cultural affairs, Poster on Prohibition and dozens of other awards and prizes, has done large mural and paintings, illustrations and cartoons, contributes to many National and Regional papers and magazines.
  • Two National Awards in Children’s Literatures by NCERT and UNESCO, 1999.

Works in Collections:

  • In many Govt. Museums and Art Galleries,
  • University Museum of P.U.Chandigarh,Punjabi University, Patiala
  • Private collections in India, U.K., U.S.A., Japan. France, Switzerland, Fiji Islands, Mauritius, Germany and Malaysia.
  • Paintings in collection of many resorts, Hotels and corporate offices.

Presently Working:

At present visiting faculty at Chandigarh College of Architecture, Chd.
Residence:

# 473, Sector 9

Panchkula- 134109 (Haryana),

Mailing address & Studio:

# 473, Sector 9
Panchkula- 134109 (Haryana),

Participation:

  • In all the Annual Exhibitions of PLKA, Chandigarh.
  • All Exhibitions of CLKA, Chandigarh.
  • All shows of Drawings and Paintings of SOLIDS, A Chandigarh based artists group.
  • Punjab art Festivals and Regionla Art Exhibitions comprising Punjab, Haryana, Chandigarh, Himachal Pradesh and J&K.
  • All India Exhibition of original Drawings- 82,83,87,88,89,90, 91,92,95,96.
  • All India Exhibitions of Drawings, Paintings and Graphics- 95, 96 organized by Himachal Akademi of Languages and Culture, Shimla. Honoured by Department of Cultural Affairs and Languages, H.P. Shimla.
  • Drawings by Eleven Artists Gallerie Akaar, Chandigarh- 87.
  • Works by Three Artists Gallerie Form Function. Showing Prem Singh, Raj Lucknow, Bangalore, N.Delhi, Calcutta by Regional Centres of Central Lalit Kala Akademi, N.Delhi.
  • Works by Two Artists Galleria, Alliance Franciase, Chandigarh.
  • Chandigarh Festival organized by NZCC 1986.
  • Workshop on Festival of Gardens, Chandigarh Carnival.
  • National Drawings workshop by Solids and Ist Biennial of Drawings by Solids.
  • Centenary Celebrations of Mohindra College, patiala.
  • DAV College Chandigarh “A Yugalbandhi” and women’s day show by YWCA, Chandigarh.
  • Traveling Exhibitions of PLKA. NZCC.
  • All India Exhibition of drawings by TIAZ and The Creator, J&K .
  • All Thematic Exhibitions on Seasons by Govt. Museum and Art Gallery, Chandigarh.
  • Art Today, Ludhiana and numerous other Exhibitions all over India.
  • 50 Years of Art in Independent India by AIFACS 1997 and by Avnantika New Delhi 97 Cartoon shows BY NBT AND Shankars, New Delhi, Hindustan Times.

Workshops and Camps

  • PLKA Artist Camp, Chandigarh, Ludhiana, Shimla (H.P.) Barnala (Pb.) at P.G.I., Artists Camp, Chd. 93.
  • Artists workshop at Chandigarh Press Club, Chandigarh 93
  • All India Artists Camp organized by Himachal Pradesh Akadami of Languages and Culture Affairs in Collaboration with Central Lalik Kala Akadami, N.Delhi and PLKA, Chandigarh, 96.
  • Nirantar Workshop by PLKA, Chandigarh 96 as an Inaugural Artist.
  • Ceramics workshop by CLKA, Chandigarh 96.
  • Murals Workshop organized by CLKA 96.
  • Artists camp organized by Haryana Deptt. of Cultural Affairs 82, 85.
  • Mahatma Gandhi Centenary Worskhop by CLKA.
  • Artists Workshop organized by Avantika, New Delhi 97.
  • Artist and writers workshop organized by Regional Resource Centre P.U. Chandigarh sponsored by Ministry of Human Resource and Adult Education.
  • Zonal Nasa 97 at Chandigarh College of Architecture, Chandigarh, Sketching workshop at Punjabi University, Patiala. Exhibition of Paintings on Mahatma Gandhi, CLKA, Chandigarh.
  • Exhibition on Father of the Nation Haryana Cultural Affairs, Chd.
  • Painting Workshop at Kanya Maha Vidyalaya, Jalandhar and Artist’s Workshop at All India Akademi of Fine Arts Amritsar.
  • Cartoons and Caricatures workshop at Press Club, Chandigarh 2005.
  • All India Artist Camp at AIFACS, New Delhi and Bikaner Kala Kumb, Rajasthan.
  • Workshop on Janam Sakhis at MOFA, Punjabi University, Patiala.
  • Workshop on Patiala Heritage, Punjabi University, Patiala and Scores of other important exhibitions.

One Man Shows

  • Exhibition of Drawings at Gaiety Theatre, Shimla-1967
  • Exhibition of Drawings at G.C.A., Chandigarh- 1968, 69, 70, 71.
  • Exhibition of Drawings at MOFA, P.U, Chandigarh- 1978, 80, 81,82, 86, 89, 91, 93,95,97, 2001, 2003, 2007.
  • Exhibition of Drawings in U.K., U.S.A., France, Switzerland, Canada, Ireland and Scotland- 1973, 74, 76, 77, 95, 2006.
  • Exhibition of Drawings at Genesis Gallery -1987, Calcutta.
  • Exhibition of Drawings Gallerie Alliance Fanciase Le Corbusier, Chandigarh- 1991- 1994, 95, 96, 99.
  • Exhibition of Drawings at PLKA Galleries in collaboration with Cultural Affairs Dept. Punjab- 1991, 92,95.
  • Exhibition of Drawings at Gallery Form Function,Chandigarh 1987,89,90.
  • Exhibition of Original Drawings at Punjab Kala Bhawan- 1996 organized by NZCC and PLKA and Sheesh Mahal, NZCC, Centre Patiala.
  • Exhibition of Caricatures and Cartoons on Khushwant Singh at the Chandigarh Press Club, Chandigarh- 1996.
  • Exhibition of original drawings at MOFA, Punjabi University, Patiala- 1996 organized by NZCC.
  • Exhibition of original drawings at Sheesh Mahal, Patiala organized by NZCC- 1997.
  • Exhibition of drawings at IIIZACH, Mulouse, France 95 at Basle, Switzerland- 1995.
  • Exhibition of Paintings at Kedar’s Art Gallery, Chandigarh.
  • Exhibition of Paintings at Gallery AKAAR, Chandigarh.
  • Exhibition of Paintings on Patiala Heritage at Art Folio, Chandigarh.
  • Exhibition of Cartoons and Drawings at Sheesh Mahal, Patiala.
  • Dublin Art Show, Ireland- 2006.
  • Exhibition of Caricatures on Kiran Bedi’ Kiran- A ray of hope’ at Indus Ind Bank Art Gallery, Chandigarh.
  • Exhibition of Paintings on Mother Teresa at MOFA, Punjabi University, Patiala.
  • Exhibition of Drawings at Himachal Pradesh State Museum, Shimla.
  • Cartoons on Corruption at Premium Art Gallery, Hotel Aroma, Chd.

Coffee Mugs

Wednesday, June 17th, 2009

Muzzafar Ali

Friday, June 5th, 2009

Muzaffar Ali Spreads Rumi’s Wisdom

Hindustan Times, Chandigarh Live
Sunday, 9th November 2008

RENOWNED FILMMAKER Muzaffar Ali delivered a talk on the poetry in everyday life in a packed auditorium, with many even sitting on the floor, at Government Museum and Art Gallery, sector 10, today.

The event was organized by Chandigarh lalit Kala Akademi. Ali, who is also a musician, painter and dress designer, was here with his wife Meera, an architect and designer.

The evening began with the show of Ali’s documentary on the life of 12 Centaury Sufi poet Rumi titled Breathe Into Me.

This film dwelled upon Rumi’s verses and his relationship with his teacher shams. The film is part of a massive international film project Ali is planning with international artists.

After the show, he said that unless one had a poetic sense, one could not truly be an artist. “Poetry makes you question, leads you to certain direction. And today, we have to break through the artist’s limitations and see things the human way,” he added.

He also mocked at the present day youth, saying they hardly knew Rumi while in the west, Rumi was the most widely read poet. “We have to have a larger vision, of being Indian, of understanding other cultures, like knowing Rumi, the way we once used to do. Akbar used to cry while listening to Rumi.”

When asked by an audience member what Ali really wanted to do, he said he wanted to groom 100 children who would, in some years, bring in revolutionary change in the world. He then added, “Unless you have love in your heart and tears in your eyes, you cannot achieve anything.”

Later, art historian Dr. B.N. Goswami, Lalit Kala Akademi Chairman Diwan Manna along with Ali and his wife released a journal on Sufism by Ali’s Rumi Foundation.

Poetry Mother Of All Arts

Chandigarh Tribune
Sunday, 9th November 2008
By S.D. Sharma

“Blessed by Almighty, Sufi sages and visionaries are the omniscient whose cultivated ideals have influenced the life of the people of different sects and faiths across the centuries”, observed Muzaffar Ali, the acclaimed film maker, painter scholar poet and proponent of Sufi mysticism. In the city on the invitation of the Chandigarh Lalit Kala Akademi, Muzaffar Ali gave a lecture on the topic “Art Binds Us All” at the Government Museum Auditorium after his short film “Breathe into me” was screened.

Such was the response to the event that more number of inquisitive listeners kept standing than those glued to their seats even to the disbelief of the organizers. However, the programme commenced with an adulatory introduction of the renowned maestro Muzaffar Ali and warm welcome of the guest Padmabhushan Dr. B. N. Goswami by akademi chairman Manna Diwan, an artist of international eminence.

Of all fine arts the “poetry” in all its manifestations in the most inspiring and mother of all arts, maintained Muzaffar Ali. The divine ideals of saint poets Jallaudin Rumi, Amir Khusro, Baba Farid, Bulleshah and other Sufimystics have expression in poetry which directly touch the soul even transcending the intellectual concept. Sharing his personal experiences based on his depth study, he said the Western world has shown ,more reverence to the Sufi saint Rumi by getting his philosophical works translated an propagated.

The ignoring of Persian and Urdu languages and the poets have distanced the general public from the rich Sufi treasures. However, in the Braj area, people grasp and follow the Hindu Sufi saints.

The chief guest, Dr. B. N. Goswami, complimented Muzaffar Ali for his endeavour of serving humanity through the medium of films, painting and other art forms. Akademi chairman Diwan Manna honored Muzaffar Ali and his wife Meera Ali.

Some Arty Fare To Reflect On

The Times of India
Monday, 10th November 2008
By Bhavneet Bhatti

It was time to reflect, rethink, absorb and learn as Muzaffar Ali spoke on “Art binds us all,’ drawing art admires from different age groups and different walks of life at the Museum and Art Gallery on Saturday evening. With an artist of Muzaffar Ali’s caliber speaking on the subject, a sea of art enthusiasts was expected. In the city on an invitation from the chairman Chandigarh Lalit Kala Akademi, Muzaffar Ali spokes about his works and the current status of art and culture in the country, besides interacting with the audience.

The event began with Muzaffar presenting his short film on the works of the 13th century poet, Rumi, which had the audience spell- bound with its powerful subject and screenplay. After introducing the poet to the audience, the filmmaker spoke about his works and his popularity in the West, which was followed by a discussion on various media of art, that Muzaffar Ali has worked in. “While paintings are more of a personal medium, films are a process of reaching out to the masses,” added Muzaffar. He also spoke about technical aspects of filmmaking including screenplay and music, which help add more impact to a production. The event ended with Diwan Manna, Chairman of the akademi, BN Goswami, chief guest on the occasion, and Muzaffar Ali releasing a journal on the Rumi Foundation.

Love For That Emptiness

HT City
Monday, 10th November 2008
By Saurabh Gupta

Filmmaker Muzaffar Ali is re-igniting the fire of Rumi’s enlightenment and calling the youth to bask in its glow.

At every instant and from every side, resounds the call of Love: we are going to sky, who wants to come with us?

This is Muzaffar Ali, in Rumi’s words, beckoning all who now care to listen. He too is almost there, the long-limbed 64 years –old Lakhnawi with broken thumb, almost ready to take off. Yet he says, “I’m khidmatgar (servent to Sufism). I can’t be a Sufi. I’m stuck in small things.” After a lecture on Saturday, he’s sitting on the floor of Government Art Gallery’s foyer. Where are the Sufis of today? He looks up, “the Sufi is in you.”

The small things Ali is stuck in are reinventing filmmaking, starting global cinema for peace, shooting a film on Maulana Jalaluddin Rumi the mystic born in Afganistan – with the finest artistes and technicians from across the globe. Or relentlessly sketching, despite the broken thumb, every scene of the film he wants to shoot, like the epic love story of Jehangir and Noorjahan,” I think with my pen. “In all this, he’s always figuring out how to connect with his audience, like he once did with his film Umrao Jaan, which he says, was a poetic journey. “Unless you are driven by poetry, it is difficult to make people feel things.”

Ali listens to everyone with the wide-eyed interest of a child. He nods; he smiles, he exclaims. Like a Sufi, Ali is light- hearted but sad.” That’s why I wear black perhaps, “he laughs. His pen’s ink is black too. To make a point, he recites urdu couplet: dil ka kya rang karoon khooon – e – jigar hone tak….and sees his wandering spirit flickering not in son Shaad Ali, also a filmmaker , but in Murad, the elder one. “He follows his heart,” says the father, rolling his hands in the air, like a mystic.

He confesses: “I’ve been fortunate to be moved by poetry and not be a poet; one falls victim to one’s own poetry. Nations are made in the hearts of poets and die at the hands of politicians.”

Ali adds: “I met a boy in an American university. He was a poet. He only wrote on sadness and death. I gave him a little book of Rumi. He reappeared after six days with seven poems dedicate to Rumi! This could happen only in the US. Indian youth today only want to get sold abroad; the MNCs are waiting to swoop on them. A child can bring revolution of the parents can hide him or her from the eyes of the buyers.”

Accompanying her husband was the demure and somber Meera Ali, an architect and dress designer. Like the shadow of her towering husband, you hardly notice her. Yet she is there, Rock-Solid, As a change-make, in terms of he unique grassroots designing, now famous as Dwar Pe Rozee, livelihood at the doorstep. The project takes the work of rural woman artisans of Ali’s ancestral village Kotwara in UP into the glitzy fashion world, internalizing folk dressing into haute couture. In this way, also preventing the artisans from abandoning their legacy. Her designs, rooted, as her husband’s works, have a big following. Even Ali helps her in the designing, in this continuous emancipation.

Poetic Ponderings

The Indian Express
Monday, 10th November 2008
By Parul

Poetry is mother art for Muzaffar Ali.

All I have done has sprung from poetry and I am fortunate to be driven by poetry and equally fortunate not to be a poet, for I can fly with poetry, “filmmaker, fashion designer, painter, revivalist, social –worker has poetry on his mind and in his heart. Here on the invitation of the Chandigarh Lalit Kala Akademi to talk on Art Binds us All, the chock-a –block hall at the Government Museum also had the privilege to view his short film, Breathe into Me, on the Persian poet Rumi. Tracing his journey as an artist, smiles Ali is tough, for art is connected through the soul and life, and all that he a has done has sprung from poetry, for poetry becomes films, music, clothes, architecture for him. “Poetry is mother art and poets are blessed for their inspiration is human and sadly, we in India, especially the last three generations have been deprived of poetry and the sensitive awareness of life, relationship, and I feel that we as artists need to take poetry to people,” feels Muzaffar. The painter feels that artists in this global world have a fresh challenge of putting art into social, intellectual and human perspective and not be passive observers, and poetry an d films can be powerful, sacred mediums to purify hearts and make people one. “Our viraasat is incomparable and we have to have a larger vision, respect other cultures and make a difference to people’s life. Art should touch the heart of someone and address the feelings,”Ali is these days working on script of Rumi, to explore his soul, vision, poetry and life.

Ali’s album Paigham-e – Mohabbat, has lyrics by distinguished poets like Ali Sardar jaffery, Ahmad Faraz, Rahi Masoom Raza, Faiz Ahmad Faiz, Qazi Nazrul Islam and he believes artists have the power to restore peace in the region. “I am not separate from my work. I’m sensitive to what is around me and it’s a constant journey of self discovery and quest to find solutions to pain and anguish and my films are reflections of my life, thoughts,” Ali refers to Awadh, Gaman and Umrao Jaan.

Having set up the Rumi Foundation and also a magazine on poetry, the next issue is on the poets of Punjabi; Ali says he is always learning, “don’t get bound by regulations, formalities or follow a school of thought. I always need to break open and see it from a human point of view,” the painter talks about the human touch..

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