Animated versions of life 'n' style

Amit Ambalal's tongue-in-cheek humour is a riot of colours

A decision had to be taken 34 years ago, in 1979. It was either to continue working in his textile business or pursue his love for painting.

Amit Ambalal chose the latter, filling his canvas with watercolours in bright hues. Since then, he has graduated to oils that are being exhibited for the first time at Bodhi Art Gallery from August 6-18 in New Delhi, and later, in September, in Singapore.

Even while he worked in his business, the artist always looked for small inventive matters that allowed for some fun in the usually serious work environment. When he took to painting full time, he was sure he did not want to paint with any kind of seriousness.

"I had spent enough time doing boring activity," and so his attempt has always been to paint something that would make his innerself happy.

With caricature forms of humans along with animals and birds dominating his canvases in bright colours, Ambalal says that he paints surrounded by lots of fresh flowers in his studio in Ahmedabad.

"The colours and freshness of flowers fascinate me. I do not want to depress people with dull colours," says Ambalal, who feels if his painting can elevate someone in spirit then his mission is fulfilled.

Fleeting images of things experienced by him initiate a painting since "whatever is happening around is bound to find some reflection. There are some expressions that are embedded and they come alive in the painting."

Even if depicting trends or issues, as in 'March for the Mahatma', in which a reclining statue of Buddha seen by him in Myanmar evolved into the Mahatma at the time of the recent Dandi March anniversary. He does not want his works to be satirical of issues, but "the painting becomes a metaphor," says Ambalal.

Humour is a must in his works, something that's otherwise rare in art these days, he says. He consciously tries to add a bite of humour if he thinks that a painting is becoming too serious.

Where serious art tries to unfold deeper meanings, for Ambalal it has been put on a pedestal where sometimes people can no longer relate to it. "It should reflect daily unnoticed activities", he says, else it is just for the galleries and for festivals.

He finds it difficult to relate to abstract works, "I am a physical being so I can only relate myself to forms where I can tell stories, gossip, like a typical Gujarati."

In 1985, he had started collecting miniatures from Nathdwara and became a devotee (and historian) of Shrinathji. Lord Krishna, his moods and the whole realm as his creation or 'leela' has since been a source of inspiration. His current exhibition 'Leela, The Lightness of Being', revolves around his constant devotion to those ritual cults and thoughts.

Ambalal loves the concept of Krishna's leela where every object "" living or non-living "" is given equal status. "Birds and animals are more beautiful than humans," explains Ambalal of their dominance in his canvases.

"They are honest, not pretentious like humans," he adds. He is fascinated by crows and has moved on to doing sculptures on them. "Their energy, colour and smartness intrigues me," he says.

Experimenting with mediums helps refocus thought processes, and he likes working with oils for the intensity it brings to a canvas.Uncomfortable with any one style because it leads to monotony and stagnation, Ambalal says such works "become like a factory" and there's no challenge left.

Because he finds painting enjoyable and inventive "" he did forsake a career to pursue art "" he says: "Where pleasure can be derived from art, their sales don't matter." His simple and vibrant works celebrate the joys of life. "If I enjoy playing with my dog, let it show on my canvas," he says.