A pivotal representation by Anjan Modak proposes the conflict of mankind with his or her habitat. The focus is to scout the consequences of the gradual shift from rural areas to urban growth. It is now the rapid and historic transformation of human social roots on a global scale, whereby predominantly rural culture is being rapidly replaced by predominantly urban culture.
Quite understandably, emerging from his academic discourse after 2009, Anjan has incorporated these layers of feelings as he belongs to these attachments. The pressures of social situations and the celebration of Man who tries to emerge from these mounting engagements have drawn the artist to reflect these concerns. The jitteriness of this experience has been adeptly modelled by Anjan within the figural forms of his works. This deep introspection by the artist is an acknowledgement of the democratic concern of Man.
ANJAN MODAK | BIOGRAPHY
Born at Calcutta, West Bengal in 1982. Anjan holds a Bachelor of Fine Arts (Painting) in 2007 and a Master of Fine Arts (Painting) from Rabindra Bharati University, Calcutta in 2009.
Among the present generation of artists exploring narrative subjectivity and the dramatic embodification of the human figure, the works of Modak has embraced an all-encompassing present to evoke a sense of camaraderie among his objectification of the human presence in his paintings. He is adept at creating a space where he induces the viewer to immerse in a kaleidoscopic temporal flux. His works seem to present a fragmented, multi-layered and accelerated perception of duration that we have immersed ourselves within a frenzied environment. Quite understandably, emerging from his academic discourse after 2009 has incorporated these layers of feelings as he belongs to these attachments.
The pressures of social situations and the celebration of Man who tries to emerge from these mounting engagements have drawn the artist to reflect these concerns. He seems to make a cryptic proclamation that life can be an uncanny experience. The jitteriness of this experience has been adeptly modelled by Anjan within the figural forms of his works. It takes us beyond the narratives to suggest that ‘we’ ourselves are a function of our imagination and hence no more or less real than any other fantasy. This deep introspection by the artist is an acknowledgement of the democratic concern of Man.
His works are in the collection of many private collections in India and abroad.
Anjan resides and works out of Calcutta.
