Jayasri Burman’s new exhibition reveals a deeply intimate side of her life, personality and art

“Even though these may seem like little works, they essentially open up up a quite major window to believe and mirror,” muses Jayasri Burman, as she takes Advertisement India on a walkthrough of “Dhārā” at the Artwork Musings Gallery. Her initial solo demonstrate in Mumbai right after eight years, Dhārā is what Sangeeta Raghavan, the gallery director, describes as “a profoundly personal entire body of get the job done,” particularly when when compared to the grand scale of her more the latest retrospective “River of Faith” held in New Delhi and Kolkata.

Comprising a variety of smaller-scale and much larger will work, the exhibition has the whispering affinity of a diary, bearing witness to the artist’s innermost thoughts and intellectual introspection. ““Dhārā” reveals a aspect of Jaysri that she will not normally show to the world,” claims Raghavan, who has shared a shut bond with Burman for above two decades.

Virtually all paintings in “Dhārā” revolve around fertility and motherhood, ideas that aren’t unfamiliar to the 63-12 months-old artist but a thing that has specially obsessed her in the final couple of years. Although “Dhārā” draws from own encounters and a deep perception of soul-browsing about a sequence of harrowing episodes from her individual life, it also, in some vital ways, continues forward her exploration of wanting for the ‘sacred’ in womanhood. 

Also go through: New Delhi: DAG’s new gallery at The Claridges opens with an inaugural exhibition, The Sixties Clearly show

Something Sacred in ‘Motherhood’

Jayasri Burman, Prasav,  Watercolour on paper pasted on lucobond board, 48” x 120”, 2022

Certainly, one particular of the initial issues a customer encounters upon entering the gallery is a set of tiny-sized watercolour paintings that powerfully capture the tale of a mother and child—or “prasav,” as Burman phone calls it, applying the Hindi term for childbirth. “This was the consider-off stage for me,” says Burman, who is aware a little something about the joys of motherhood but also, we learn, the agony of getting rid of a baby. “Unfortunately, I’ve experienced some miscarriages in my daily life which include the emotionally complicated experience of possessing a stillborn pregnancy. It was devastating! When a mother carries a youngster in her belly even however it truly is a physically traumatic method she bears the ache with contentment and with a smile. Why does she do it? Because mothers and gals consider in offering life,” states Burman, whose only son Riddhibrata Burman is a fashion photographer. Above the a long time, the figure of an archetypal ‘mother’ has shaped a central crux of her artwork. With its prosperous imagery of angelic goddesses, hybrid animals, birds, human beings, trees and rivers, her fable-esque oeuvre is, admittedly, a celebration of feminine energy. She details to a massive artwork titled Utpatti, which depicts a female cradling a pumpkin, but in its place of a seed, it has a newborn, even though the umbilical cord reaches viscerally again into the roots of a tree. 

Agony and Elegance Go Hand in Hand

Jayasri Burman, Utpatti, Watercolour pen and ink on paper pasted on lucoband board,54” x 96”, 2022