...the devil doesn’t come dressed in a red cap and pointy horns

Size- 60 x 120 inches

Medium – Acrylic on Canvas

Year- 2018

In this work explores various facets of love and sexuality in an Indian context.  The images are visual translations of various anecdotes which have largely occurred in and around my native place in Assam. Much like the larger Indian Society, Assamese society too disapproves of public display of affection as well as sexuality. I have intended to create a satirical space where I have mapped many distant events which speaks about passion, betrayal, vengeance, self-sacrifice, adultery, sexual fantasy, perversion, obsession, domestic violence and many other dimensions of love and sex. Love as well as sex has been the central theme of many of our political as well as socio- religious narratives. My painting has also accommodated narratives from the myths/folk legends which have contemporary relevance.  Sexuality in India is perceived differently by different individuals/groups.  By and large the sexuality is overtly suppressed in real life but find vents through other mechanisms of our culture. In our Indian society, equations and ethos of love and sexuality have remained unaltered largely for ages. For me, the traditional image of Krishna flirting with his gopishas found a contemporary expression in the ‘AXE- Deodorant’ advertisements. In both the cases, the alpha male enjoys the company of several women and it is somewhat seen as a celebration of Indian Masculinity/Male Sexuality. The idea of love is debated here. On the other hand, age old professions like prostitution is still very much practiced here in different forms, but the government turns its eyes whenever a demand for legalization comes up. It is very much part of our societal reality. I have also taken references from local incidents. For example, a man in Assam had beheaded his wife for committing adultery and later surrendered to the police. In no time it made it to the headlines. The case ran for months and in the process the officials did not let go any opportunity to fill their own pockets with blood money. The iconography of Hindu goddess Chinnamasta was metaphorically referred in this context. In many other spaces I have visually commented over close door sexual experiences. One of the fragments in my work represents a pervert from my childhood who used to enjoy peeping in women’s toilet. In another fragment I have represented an incident where a man was thrashed when he was caught having a sexual affair with a local widow. Apart from this, the Ramayana narrative of Ahilya, is of much contemporary relevance to me. Even today rape victims much like Ahilya are to bear the blame of seduction, whereas the culprits are acquitted.