Artiest Info    

The abstractions of Bhagwan Shankar Chavan are concordant watercolours of carefully laid overtones juxtaposed in various intensities to create inlets of multiple intensities. The intimate interfaces are achieved by placing continuous flat patterns of colour containing striations and disjointed lines. These mostly appear like oriental calligraphic inscriptions. Placed almost at the nearing completion of his watercolours the deep intensities appear as floating on the surface of carefully laid layers of colours. However, the choice of colours are judiciously muted in order to perforate and fuse to form other secondary or complementary tones making variable and obscure tonalities.

Bhagwan begins by judging the structure which perhaps has primary sensations such as dilapidated facades, through which could be seen far away lighter tones superimposed passages like a labyrinth. During the process Bhagwan seem to prefer laying his paper flat to take advantage of the tiny pools of colours that stagnate.  In certain noticeable ways, Bhagwan chances to gain, while he prefers to play with his medium through placement of colours, through a natural flow of colour retained in his brush; meant to be just laid and kept gently so as to keep a more spontaneous form intact. This discipline or restraint,  relate to his stability as an artist to control the flow of colour. And, this is what Bhagwan does. What is interesting is the way Bhagwan retains  the richness of the Blues, Violets, Indigos, Ochre‚Äôs, Burnt Umbers, Browns and Cadmium Reds, both through transparent, translucent and opaque  tones of shallow blobs placed in contrast, on textured handmade or archival papers, lending both textural  and interesting tonalities that are pulsating. One can see in his work a gradual building up of tones from broad and flat brush strokes of pale water washes to narrowing the width appropriate to the temperament, structure and style until the coded lines develop a lyrical sense.

The resultant compositions build a natural depth in the end, without the engagement of at once vibrant tones or Blacks. It is not as if to underplay the composition deliberately, but to retain effects that a work would do well to refrain from extremities in rendering. This only speak of the control Bhagwan possesses over the medium as well making  his composition as in symphony, yet making his work advanced abstractions. Bhagwan is unique and undoubtedly one of the best abstractionist of the conscious reality.