KINETIC COLOUR WHEEL
Sandesh Khule (1983) has had a great impact of the color wheel on his practice having studied it from Paul Klee’s color theory at the Abhinav Kala Mahavidyalaya, Pune, Maharashtra. He. Experimenting with it he later discovered the two-dimensional kinetic visual movement of colour. Sandesh is among the few talented young abstractionists whose work is engaging beyond pedantic techniques or spirituality. His unconventional treatment of pigments, form, texture, and spatial arrangements makes his works distinct. The de-formation and reformulation of shapes and impasto application creates vibrant and kinetic visuals. Kinetic movements and three-dimensional illusion from two-dimensional treatment is an experience for the viewer through his paintings and drawings. The colors, space and application are the main architecture of his visuals.
In his works the linear treatment, and textured surface is painted and applied by his fingers. It is inspired by the textured and abrasive surface of Ajanta – Ellora caves, and later this texture is developed into the lines that define his canvas. The various experiments with geometric forms, compositions and play with such application of colour and lines enables him to reach different visuals that he hdesires to explore through the process. The kinetic visuals through the two-dimensional treatment play an inevitable role with vibrant colors. “Kinetic art” as a practice originated from a number of experiments in painting and initially by the late 19th century impressionist artists who originally experimented with accentuating the movement of human figures on canvas.
Printmaker Rm Palaniappan says about Khules’ works, “the space division, textural quality, color schemes in his paintings, appear like the bird’s sights while in flight, forming his primary source of imagery. Geometrical formulations too, form a strand of his works. “ Sandesh confines his rendering of forms as geometrical perceptions and does not intend to propose any presumptuous philosophical ideas. His current works are a mix of diptychs and triptych of large-scale works. He proceeds with a novel mode of color application, and rendered large shapes in flat hand painted oil color swatches. Many of his works have compositions based on the addition sign. Though painted in singular color planes the space division brings about an interesting mix of transparent application on one side while opaque application on the other side, creating a spatial kinetic illusion of some sorts.
The meaning of a single sign or symbol may be interpreted differently in different contexts. Different images could conjure diverse meanings into the viewer’s mind which could be at time contrasting too. Besides repeating some cannon, the path on which the pictorial journey of Sandesh has set out, may he cherish, with evoking a new canon of visual idioms.