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Prayer (2022) depicts Baliga’s late mother standing in a gloomy sage and cherry-red room, her profile silhouetted against the saffron light streaming in through a window, her hands pressed together in an appeal to an invisible divinity. A nearby stack of books indicates that his is a life of the mind, but the artist shows him attending to the humbling needs of the body, trimming the toenails of his awkwardly-raised left foot. In Aveek cutting nails (2022), we see a balding middle-aged man sitting on the edge of a bed. Like the canvases of Johannes Vermeer and Jean-Baptiste-Siméon Chardin, many of Baliga’s works turn on stillness, an intense inertia that absorbs us into a single, intimate moment. Courtesy: © Mahesh Baliga, Project 88 and David Zwirner Mahesh Baliga, Reception, 2022, casein on board. Baliga allows his memory to fix on the most fleeting of sense impressions – a plastic tub stuffed with crumpled rupee notes ( Collection, 2022), a shirtfront stained by a leaking pen ( Poet with ink on his pocket, 2022), strings of winking bulbs hung in a Modernist apartment block in celebration of an ancient festival ( Diwali Lights, 2022) – which he transforms into something precious, almost numinous. There’s no obvious chronology or hierarchy at work in this arrangement of paintings. Here, the white spaces between each work suggest lacunae in what the artist describes in an accompanying text as ‘the stream of never forgetting’, which ‘rushes in the loneliness of my studio’, and from which he attempts to ‘collect and keep them safe’.
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Courtesy: © Mahesh Baliga, Project 88 and David ZwirnerĪt Baliga’s first solo show at David Zwirner, London, a series of his small (or as he refers to them, ‘lap-sized’) paintings hang in two parallel, offset lines, like the teeth of an open zipper. Mahesh Baliga, Poet with ink on his pocket, 2022, casein on board. As Marcel Proust observed in his novel In Search of Lost Time (1913-27): ‘Remembrance of things past is not necessarily the remembrance of things as they were’. Temporal distance, of course, has a way of distorting reality. Another is that he paints not from life, or reference images, but from his own memories. One reason for this is the Indian artist’s use of casein tempera, a quick-drying pigment derived from milk protein, which lends his work a matte, faintly otherworldly glow.
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While Mahesh Baliga’s paintings often linger on the quotidian – hotel reception desks, drowsy zoo animals, frozen desserts – they nevertheless feel like visions from a dream, at once vivid and oddly elusive.