THE LTG SHOW (1992)
There are of course certain happy events to be recalled about Hemraj during his Art College days, besides his winning some prestigious awards like the Ravi Shankar Award. The story begins when the then owner of the now defunct R.T.G. Gallery, near Kamani Auditorium, Sh. Siddheshwar Dayal, approached the Principal, College of Art, Sh. O.P. Sahrma in 1992 with the novel idea, that he will host a show of a promising student’s works. The Principal was happy about the idea and recommended Hemraj for the show. The idea at the Gallery man’s level was probably prompted by two basic factors, it seems. One, that works of promising young artists at the College level he promoted (in short, promising artists should be picked up right from their incubation rather than wait a decade for them to make the scene). Two, that this approach should lead to affordable art that could be enjoyed by art-lovers who had limited money to invest in art works of quality.
The show was of course promptly mounted at the L.T.G. Gallery, the first art activity for Hemraj outside of the campus. Both friends and the Gallery contacts thronged the show on ______ 1992. However, what the gallery man and the young artist did not realize at the time that art collectors mostly went for brand names. Promoting good/ young art was not a part of their vocabulary. Needless to say, the sow was a commercial failure. But it gave Hemraj an iota of determination – which he has to create a brand that will have his tag as well as the stamp of good art. However, as a beginning … as an engagement with the commercial side of art – it wasn’t a discouraging event. People came in, saw his work and expressed appreciation though at that early stage of abstractionism in Delhi, the thrust wasn’t enough to push the works of the artist in a slow reacting world.
But Hemraj didn’t lose heart. He then onwards started thinking in terms of holding a solo-show on his own, particularly, in a place like Bombay the great patron of young art. But before he could reach the preparatory stage, the Dhoomimal thing came up. First the competition, then the Gallery show. (The idea of holding a show at Bombay had to be postponed for a while).
THE JEHANGIR ART GALLERY SHOWS (1994)
My first independent show at the Jehangir Art Gallery, Mumbai (1994) was quite an experience, I was allotted the gallery and had to take my works there. And as my experience about mounting a show in or outside Delhi, wasn’t much to talk about, I embarked on carrying my large works with frames rather than rolled up, to be framed in Bombay. The large box that contained the paintings was too heavy to be tackled by one or two persons. So I had to ask some of my friends to lend a helping hand. However, when the box reached the platform, to be booked for onward journey alongwith me, the officer in charge refused to book it, saying it was too large to be carried in the van. But as you know how it is with our officialdom, the person came round for some consideration. I breathed a sigh of relief.
But I had no idea that I will face another hurdle in Bombay in taking it out. The man there simply refused to deliver it, asking, how had I managed to get such a large box into the van? I could not understand his logic. But I understood his intention. With considerable difficulty I brought the box to the Gallery. But the whole story so far depressed me greatly. However, there were some relieving factors too.
There were two other young painters showing their works at the time in the Gallery and one of them was young Seema Ghatak, the famed film-maker, Ritvik Ghatak’s daughter. She tried to be helpful as I did not know anyone in Bombay and was almost confined to the Gallery and my lodging. Luckily, Dyaneshwar Nadkarni, the Times of India art critic came and that was the only relieving factor as continuous rains kept much of the audience away from the gallery and hence our shows.
There were of course some buyers too who came in. But they bargained so hard that my ego was hurt. Given the haughtiness so natural at such an early age, I refused to sell any of my works that were large and deserved the price level I had fixed, though 5% or 10% of it could be adjusted. But that was not to be. I returned to Delhi with all my works packed up.
This was my first experience in mounting a solo-show by myself, out of Delhi.
The same very year, the premier art gallery of the country, Dhoomimal Gallery, New Delhi, mounted a solo show of my works in Delhi. I was of course, the youngest artist in their long history who got a public showing.
THE ALLIANCE FRANCAISE SHOW (1995)
After the Dhoomimal show it became evident that I was being pulled into the art circuit. Sidharth Tagore of Gallery Art Konsult organized a show of my paper works at Alliance Francaise’s Gallery Romain Roland (1995). It was a good venue, visited by artists, art-lovers, critics and collectors. Sidhartha Tagore promoted my works to the best extent possible. And the show did well indeed.
My works in this show entitled “Metamorphosis” were of a more innovative character. So, besides its commercial side, my relief at the ed of the show was that the innovative, aspect of my works indeed clicked with the sensitive audience that visited the Gallery. And that their being paper works did not cast a shadow on the quality of the show.
Furthermore, the stream of the art lovers who visited the Gallery strengthened my faith in my own work and the fact that my paper works too found a response from the audience. Lastly, not to say the least, the inaugural part of the show was very pleasing even though most of the accolades that I received were from my fellow artists (the younger lot).
THE SHRIDHARANI SHOW (1996)
The Shridharani Show of my works sponsored by Asish Anand of Delhi Art Gallery, Hauz Khas Vilalge, New Delhi, was a memorable one as it consisted of my larger oils. Entitled “Metamorphosing to Devotion”. It was almost like a test flight at certain levels. The abstract imageries were further complexed and were structurally innovative. Their price level was more market oriented (as it was a gallery sponsored show). And those new colour sensitivities were introduced though a good degree of vibrancy and structural dynamism was maintained.
Ashish had been keen about this show and had been planning for it for a while. He respected my wish, that it should be in the city and that the Gallery be Shridharani (which alone was suited for my large-sized works). The response to the “Metamorphosing to Devotion” was something to be cherished. After an impressive inauguration, which was this time a good balance of younger and older artists, the show settled down to steady visitations by friends, art-lovers, the gallery contacts, critics, the media and so on. For me, personally, it was a happy time as I was, finally, in the Ivy League, where both status as well as money matters (and without money I wouldn’t go on working on the scale I was doing these very large sized works). It was of course a critical period on my balance sheet. I was quite happy to see, at the end of the year, that it was on the plus side in every way.
Ashish Anand was satisfied too that he after all had not made a gamble. And this created a lasting relationship with him (He kept on taking works from me even when he wasn’t planning for a show).
THE DELHI ART GALLERY SHOW (2001)
Delhi Art Gallery, Hauz Khas Village, New Delhi – once again sponsored my show, in 2001, in their own premises. It was a large show, spread into both the floors of the finely laid out Gallery. A large audience, art-lovers, critics and the media attended the inaugural. The works in this show were further innovated from my previous shows. There was, in a way, quite a bit of enthusiasm for this show as it was in Asish’s own gallery – even though it was in the village. But as we all know, Hauz Khas Village is quite a busy business complex, catering to tourists and the elite alike.
The Hauz Khas Village sow was quite an experience as the audience herein was different. And 2001 was a period soon after the Asian currency crisis. The markets were slowly limping back to life. Hence the response to 2001 Show was quite unexpected in a way. There was no shadow of the market slow down and the art world was particularly going about its business as if nothing had happened (but something certainly had happened).
I was contented that the show did not spring up any unexpected negatives and the gallery man Ashish Anand wasn’t much bothered either. The stream of visitors all through the show was encouraging and most of the other factors were helpful changes1
TESTING ------------------
THE ALLIANCE FRANCAISE SHOW (1995)
After the Dhoomimal show it became evident that I was being pulled into the art circuit. Sidharth Tagore of Gallery Art Konsult organized a show of my paper works at Alliance Francaise’s Gallery Romain Roland (1995). It was a good venue, visited by artists, art-lovers, critics and collectors. Sidhartha Tagore promoted my works to the best extent possible. And the show did well indeed.
My works in this show entitled “Metamorphosis” were of a more innovative character. So, besides its commercial side, my relief at the ed of the show was that the innovative, aspect of my works indeed clicked with the sensitive audience that visited the Gallery. And that their being paper works did not cast a shadow on the quality of the show.
Furthermore, the stream of the art lovers who visited the Gallery strengthened my faith in my own work and the fact that my paper works too found a response from the audience. Lastly, not to say the least, the inaugural part of the show was very pleasing even though most of the accolades that I received were from my fellow artists (the younger lot).