Commonly known as the “master of lines,” prolific artist Jogen Chowdhury is not one to toe the line, though. In fact, Chowdhury’s works often straddle social and political dynamics. Take, for example, his recent mixed-media on paper titled Killer of the Pregnant Woman, where Chowdhury depicts a dhoti-clad man ripping open a pregnant woman’s chest and stomach with a knife. This work is oddly reminiscent of other violent acts perpetrated by men against women, especially in the context of a post-Bilkis Bano India. So, when Chowdhury says: “I always observe the people around me as well as the socio-political situation of our country or elsewhere, being a socially-conscious person,”—you understand the context of his art.
The Established: From the aesthetics of art to the politics of paper, Jogen Chowdhuryâs practice cuts across boundaries
November 18, 2022
