Jagannath Paul’s art articulates the belief that certain creative principles exist eternally.  These principles are preserved in the collective consciousness embodied in myths which somehow capture the essence of these underlying thoughts and ideas.  Idiosyncrasies of time and place prove to be ephemeral: they arise, flourish for a while and then disappear.  The dramas reenacted in Paul’s works do not.  Instead they recreate the eternal paradigms in constantly changing variations and degrees.  Art, for Paul, involves a rediscovery and a revelation of the eternal paradigms, which exist in that dimension of infinitely expanded space and time.

 

          Bipul Roy applies water colour in light transparent washes. The softness and translucence of the medium induces a kind of dreamy environment transforming the naturalistic ambience towards an impressionistic meditative lyricism. This is true particularly about his landscape paintings. He loves to paint landscapes since his early college days. Through imaginative application of chromatic wash and creating areas of highlight leaving white space of the paper he creates a kind of duality of the space and the void. This duality reflects the essence of his personality, his dream, his love for nature. His landscapes are mostly silent and contemplative, particularly the hilly landscapes of North Bengal. Apart from the landscapes of Dooars, Darjeeling and North Bengal in general in this show we also find his water colour landscapes of the city of Kolkata. Through working with these landscapes and cityscapes he tries to enter into the deeper reality of the country, its inner beauty and contradiction. His dreams for beauty and ideal states of being play an important role in this genre of painting.