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George Martin raises his ‘Objective Voice’
George Martin P.J. aims at deciphering certain assumptions about the visual language he executes and ameliorates. The assemblages look back at a reservoir of memories and images. Working with a wide range of materials, he looks to build visual harmony. The images or forms - quotidian in nature – construe each work that represents the complexities of urban life.

A new collection of his works, entitled ‘Objective Voice’, comprises drawings on paper and series of installations. Done in fiberglass, vinyl and aluminum, these comprise sculpture works, neon and light emitting diodes. A sculptor by training, the artist has always explored new mediums and artistic possibilities. His new body of work presented by New Delhi based Vadehra Art Gallery is a testimony to his keenness to experiment.

Born in Kerala in 1973, he studied Sculpture at the College of Fine Arts, Thiruvanthapuram. He received his Master’s degree from the Government College of Art & Craft, Kolkata (2001). The sculptor-painter interprets human life by decoding the drama hidden in overtly simplistic life scenarios. His intriguing compositions comprise ‘meditative’ imagery. They reveal and conceal; encode and decode these mysteries simultaneously.

His works portray the world around us, including his acrylic abstractions that exude energy. In his visual extravaganza, he merges multiple colors and cultures. He has explained in an interview: “In the contemporary context of life, ‘moments of truths’ are fleeting. The sporadic linkages among random visuals create a virtual notion of reality. As an artist, I look to go beyond them for the linkages that would eventually connect the artistic representation with the memories of the fleeting visuals.”

Primarily known for his sculpting skills, the artist has painted several beautiful canvasses that dig deep into the mysteries of life. His densely populated paintings resonate with the transitory and disunited true nature of our world. They enact the enigmatic drama of contemporary life. His luridly colored sculptures and canvases are dotted with scenes from dense urban spaces.

He ably captures the outer layers of urban spaces, which reflect the postmodern sense of reality. These postmodern architectural structures dispel the sense of unity from a closer distance though they show transparency and a feeling of progress, scientific achievement etc from a considerable distance. The enigma of the human drama begins where the sense of reality is displaced or destabilized from its own immediate surroundings. His works throb with the same sensibility, both as acceptance and critique.

George Martin maneuvers the same images to stimulate new expressions and evoke a magical reality. The new works are titled with a sense of strong perceptivity as conveyed in ‘Crude sanctum’, ‘Urgency of the present/ the redemption of the past’, ‘Forgone conclusion’, or ‘Laugh & re-memorization’; all of which suggest a synthesis of ideas that have coagulated to raise each work. They display an organic process of artistic development, which can be mapped thus, by following the drawings and installations.

‘Crude sanctum’ exhibits a fiber-cast replica of Joseph Bueys performing in his ‘I Like America and America Likes Me’. A round mirror framed with fiber-cast skulls and a text crafted from neon lights stand as a statement by itself for the work. Beuys insisted on recognition of the whole, not just those aspects of the whole capable of giving pleasure and instant gratification. Keeping this in mind the usage of Beuys’ image in the work utters related yet different set of meaning for the audience.

The artist applies a ‘deconstructive methodology’ to disintegrate and congregate the units of the original image. The sense of unity, which becomes palpable from a distance, evaporates as one starts moving closer to his paintings.