Pearl D'Souza
With Inputs from Rons Bantwal, Mumbai
Daijiworld Media Network - Mangaluru

Mangaluru, May 23: Wilson D'Souza, better known as Wilson Kayyar, whose fame as an artist has been growing for twelve years now, is now being reckoned within the art scene of the country, with his exhibition of paintings themed 'Feminine Narratives', being hosted at the renowned Jehangir Art Gallery, Fort, Mumbai. The exhibition beginning Tuesday May 23 will go on till May 29.

Jehangir Art Gallery, located at Kala Ghoda, has been home to some of the excellent artworks of national and international artists, at various points of time. The gallery features visual art of all types, including sculpture art. The four exhibition halls display diverse genres of art by various sections of artists.

The gallery, an enormous mansion, is managed by the Bombay Art Society. It is a global attraction for art lovers and has extensive media coverage. Artistes displaying their work have to wait out for years before their art is displayed in gallery, which is considered the gateway to establishing oneself in the field.

Wilson Kayyar was born in Kayyar, in Kasargod district. He has has two solo, and about a dozen group shows to his credit, both nationally and internationally, till date.

Wilson is an alumnus of Mahasala School of Art, Mangaluru. He has been honoured at the Konkani Janapad Utsav by the Karnataka Konkani Sahitya Academy, and conferred the Sadhana Award by Emirates Konkans. Wilson has also painted pitures on the themes of songs at the 'Ashadanthlim Ek Saanj' show by Kalaangann.

Wilson believes in creating art that inspires. "Art is my passion," he says. His semi-abstract genre of paintings have a bold theme and mostly concentrate on feminine themes, by and large wherein he equates women to nature. Wilson was inspired by art legends Picasso and M F Husain, at the outset of his career as an artist. He gains inspiration from daily interaction with nature and people, and creates balanced paitings of social and glamourous subjects.

While agreeing that there is a considerable improvement in art-awareness in Mangaluru over the years Wilson suggests there is scope for more. "I want to bring about an art awareness in Mangaluru. Art awareness is seen much in the coastal areas, like Mumbai, Calcutta, Chennai. Yet Mangaluru somewhere lags behind."

In a brief interview with daijiworld, Wilson Kayyar spoke on his latest exhibition at Jehangir Art Gallery and a number of topics related to his journey as an artist.

DW: What does the exhibition at Jehangir Art Gallery mean to you? How differently does a solo/group exhibition help artists? What have been other best exhibition experiences?

WK: It's not easy to get a slot in Jehangir Art Gallery. The art exhibition there is a doorway to get established as an artist in Mumbai. It's a popular gallery in India.

It's my third solo exhibition. The first was inaugurated by Gulzar (Urdu poet and lyricist) saab and the second, by the then police commissioner, Murugan.

A solo exhibition, unlike a group one is slightly harder or organise, as it's a one man show.

The Gallerie Orchid in the city, and the Indian Art Festival in Calcutta were enriching experiences, among others.

DW: Is your art a reflection of your experiences? What inspired you and who encouraged you?

WK: Yes, my mother's village, Ajekar introduced me to the forest, and my father's native, Kayyar introduced me to the sea. My mother encouraged me to pursue art. I went on to do a government diploma in fine arts for five years, and then, post graduation in fine arts for two years.

DW: Do you think you can bring about a change in people with art?

WK: I can only change myself, not others. But I will be glad if my art inspires others for the better.

DW: How has your practice changed over the years?

WK: After my PG course in 2005, I started into the field as a freelancer. It's been 12 years since. The difference between being a student and a professional is the exposure to theory in one and practical, in the other. To understand art, one needs to practice it frequently.

DW: Which has been your hardest criticism? Do you incorporate feedback into your paintings?

WK: There was one occasion, when there was an atmosphere of communal tension. I had painted a lady character crucified. A cross is a form of punishment, but the message was miconstrued by a few. Nonetheless, the tension died down soon.

I create works of art with a clear mindset. Those who do not understand art find it most problematic.

DW: What do you dislike about the art world?

WK: There are no dislikes in the realm. Everything is come to terms with, and corrections, made. The mentality of people differs. An artist or any sort of an art lover develops neutral thinking. Art makes people innocent, tender hearted, just like a child. It opens people to different thought processes.

DW: Has Mangaluru woken up to appreciating art?

WK: After Gallerie Orchid, art followers have definitely increased. A good amount of competition among artists is also seen in other galleries. Yet, the exposure to contemporary art in Mangaluru may take a few years.

The art culture in India as a whole, seems to be declining. The marketing seems to be dull. Artists do not get the value of the paintings and have to manage the ever increasing costs for creating one. Art is consumed by those whose basic needs are met. Although these days, people are very conscious of their bank balance.

DW: What themes do you pursue?

WK: I have chosen feminist themes in all my solo exhibitions. The theme of my first solo was 'Rendezvous With Feminine', the second exhibition had 'Feminine Tales', and now the third, in Jehangir, will carry the theme 'Feminine Narratives'.

Among my subjects featuring in Jehangir exhibition will be 'mother and child', 'romance', and Mangaluru's 'fishing community'- with the title 'sharkhunter'.

I have also painted on the subjects including 'fruitseller', 'last supper', and 'migration'.

DW: Why do faceless and nude figures make up the essential component of your paintings?

WK: My paintings now are glamorous and not fully nude. As a male artiste, capturing feminine subjects, I equate female beauty to nature, serene. I think about nature and paint women. A 'lady' is 'nature' personified. I paint the surroundings, using that lens.

Two of my lady subjects are 'nature craft'.

Even in advertisements, women add to the aesthetics and attractiveness, as they are glamorous.

DW: Which pieces are you most proud of, and why?

WK: I am happy with most of my art work. The two paintings that come to mind for having made me proud are - 'Wedding Moment' (Catholic) that was sold for a high price at the Indian Art Fair in Mumbai. The other is the 'last supper' which was the first painting in Mangaluru to be sold at an exhorbitant price. The painting was at Gallerie Orchid , and its bidding was done with the help of daijiworld.

DW: What interests you other than art?

WK: I have forayed into photography, which is closely related to art, but finally I decided on paitnings. I also do graphic designing.

DW: Why painting? How do you measure the success of your paitings?

WK: Painting was the first form of art I had encountered. My goal is to be the best artist, just like many in my field aim. The level of improvement one acquires, is how success is gauged.

DW: Name two artists you’d like to be compared to.

WK: Piccaso and M F Husain, for their subjects. They are both figurative artists as well.

There are many Indian artists I revere - Ram Kumar and Tayyed Mehta, to name two.

DW: Let’s say you’re designing a new painting for modern Indian women. What would it look like?

WK: I had already displayed a painting on 'belly dancing'. Depicting modern women, would include in the painting a mobile phone. I already have created a painting of the like. My subjects 'Sringara' and 'Hostel' (ladies) also portray modern Indian women.