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Re-visions of instrumental Nature
KAVITHA BALAKRISHNAN comments on the new series of paintings by Martin.

Martin puts our long habituated pastoral passages and frameworks into question through some interesting painterly devises. Pleasant antidotes are woven into the devilishness of reality that is apocalyptically plotted on canvas. The consumerist plasticity and the pastoral ‘true to nature’ treatment contest each other. Yet, both are not treated as alienated categories, rather birds of different flocks are literally depicted flying together. ‘Natural’ world and ‘toy’ world are scrupulously crafted into a synthetic pictorial language.

An exploited and deserted land is isolated for our viewing both in the presence and absence of its old patriarch who is now a sweet musician or just a personification of our remaining ‘benevolent dreams’. Artist plays with the ‘instrumental’ form of a white bridge in relation to a female turning her back to us. Potentially sexualized desires are refashioning naturescape into a familiar plastic mode of entertainment where for instance a garden can be taken for ‘pay and use rides’ devised for children, a flower is seen to have been preserved in air-tight container etc.

Martin takes up an assertive painter-position. He puts his ethos into question projecting the devastated naturescapes that are paradoxically restructured by dual worlds- new polished structures and memories of its folklores and rhythms. This is neither a negation nor a reproduction of one’s old emotional allegiances or current plastic compromises.

Martin consciously vitalizes a sort of ‘romantic’ pang in concrete imagery. This apparently rejects the abstracting premise of ‘pure formal interests’ or ‘painterliness’ now prevalent in contemporary art.

The painterly assertions of contemporary art production actually constitute a desperate set of historically determined parameters for each painter in terms of his/her particular ethos. We need to identify them.
Projecting a pastoral romanticism in a plastic draft, Martin’s works make significant political en-route into the subliminal cosmopolitanism of Contemporary Art practices.


Anonymous Anonymous said...

nice painting! pls give me no. & email for Kavitha Balakrishnan

Life positive magazine

9:42 PM  
Anonymous Anonymous said...

i know kavitha, but i cant find out any CROW in that paintning kavithawould like CROW that also the part of life,..around every where..in bitween our daily life but what happend kavitha

11:32 PM  
Anonymous Anonymous said...

Renjith Nambiar

11:40 PM  
Anonymous Anonymous said...

nice paintings

2:35 AM  
Anonymous raju john said...

these paintings are done by Mr. Martin, not that girl. Kavitha made a write up about them!!
Oru penninte peru kantappozhekkum chadi veenirikkunnathu kantille!!

10:28 AM  
Blogger harish said...

for raju john,
adipoly aliyaa...kalakky

1:29 AM  
Anonymous Anonymous said...

haaay...friends, i am oc martin. my address-martinchittilappilly@yahoo.co.in

9:54 PM  
Anonymous Anonymous said...

hi all those who wrote....sad to see the comments of malayalis looking at paintings..! most of them looked at the name of the writer.....
dear martin i'm an art apriciator, ur paintigs are rich in visuals, sensual in coulurs...keeps freshness, etc...but the close similarity to the naive French paiter Roussou is not apriciative

7:27 PM  
Anonymous Anonymous said...

hi mr matin o.c... uve got very nice paintings... i love it. and i love ur cousin too... sr jolly... :) i'm her co-nurse and friend here in chicago. ur paintings are full of color and vibrance... kudos to you!... ana

12:16 AM  
Blogger Volker said...

I love Oc Martins paintings, anybody has the real contact details of Martin? Also I was wondering if anybody has experience transporting large paintings in airplanes?


12:39 AM  

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