Page 52 - TheArtsTrust Krishen Khanna

off the antique stone walls of Garhi Fort, a chaotic above left: Khanna
band of musicians went noisily down a narrow sketching at an exhibition
of his works in London
village street. He was profoundly affected by the above right: Khanna in
picture: here was a curious cultural pastiche, his studio in 2016
opposite: Khanna
the exuberance of local festivity colliding with painting in his New Delhi
a colonial hangover, a raucous wedding march studio in 2018
echoing the militaristic rhythms of empire.
Over decades, the artist has continuously
adapted this colourful and complex tableau as the basis of his work. Although
his earlier Musicians series from the 1950s had examined performance in
smaller venues, the bandwalla functions in the open theatre of the street.
They are a remarkable combination of flamboyance and exhaustion,
whether directing a baraat with a measured shuffle, serenading an apathetic
audience, or dozing beside their weather-worn tubas. Presented in a range of
media, from dense impasto oil paintings to drawings in conté and crayon and
also monumental sculptures, the series exemplifies Khanna’s adaptability
in both form and tone. These compositions squeeze bodies and tools into
thick, rhythmic masses. Sharp diagonals, flattened planes of vivid colour,
and circular arches evoke a sense of busy energy and reflect the dissonant

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