Over the past thirteen years the my determination to independently explore situations has shown my ways to communicate with my inner self. The changing face of eventualities in my life became a source of enquiry. They addressed issues of resistance to change and finally acceptance. my works by and large depict this personal world of composite experiences. The narrative portrayal questions the spatial element as found inside the human body, external landscape, in relationships, in geographical boundaries. Overall the definition of space finds predominant _expression wherein the struggle and search for freedom surfaces time and again.
Every phase of my work reveals an autobiographical unfolding of aspirations, loneliness, despair and changing moods of relationships. While my earliest works communicate my idealistic concern for sustaining the gifts of mother earth; watercolour landscapes (1994-95), my later works of carved textured elephants on wood (2002) stated my angst against exploitation of the animal in temples. The vulnerability of the human body and search for personal identity encompassed most of my later watercolour series, inner landscape (1996-97) where my questioned the incongruity of divisions of societal framework. During the same period I developed upon a representational book of visual memoirs that brought together rhythms of life using acrylic on gesso board; Untitled Journey (1997), and Travelling show (1999-2000). In the latter she teamed with Sue Carney to reveal the prevalent unrest in a woman’s mind whose presence is taken for granted. By using discarded material such as matchsticks, corrugated board, sheets, threads, rope and gunny sack the work emphasized a metaphorical dissent for insensitive action. I further pained to observe the misuse of technology that aids gender discrimination and mindless killing. I wonders if such development can be termed constructive at all.
In the process, my visual language retained certain elements that repeatedly addressed personal concerns; the red blob of colour that is constantly seen points to the eventuality of a blood clot in the brain. The enormity of personal loss is incomparable to the size of the clot. In my later works of mixed media on paper and canvas (2000, 2001, 2002) the prevailing imposition of vertical grids speaks of barriers, self imposed and otherwise. In contrast, the presence of the element of water attributes as a soothing balm to the mind and lyrical texturing acknowledges the healing presence of music In all we find a hope nurtured to undo and recreate a new world. The search continues for a free will and yet retains the nostalgia of security.
The present series are an extension of my previous work to an extent. They investigate the fascinating relationship between science and art in relation to the human body. While exploring the interconnectedness between the physical and emotional, the predominant imagery captures the movement of the inner textures of skin, the brain, cells and other subjects. Once again led by a strong urge to unravel the internal processes. In many ways this series is a breakthrough of sentiment. From being a child to being a mother myself, the maternal perception takes over while answering questions of creation and of circumstantial differences in human nature between the exploiter and a saint. ‘this process of seeking answers has affected the way I paint now. It has brought in new perspectives and opened up new vistas. Looking at life anew through a child's curious eye it feels as if I have become a child again. My childhood memories are very beautiful since we were brought up in natural surroundings close to a forest because of my father's job.
Taking pleasure in imaginative liberty Sumana draws from the unencumbered attitude of her child. What are distinctly visible are a larger canvas, unconstrained boldness of brush stroke and a vibrant palette that bursts with colours of joy. One notes a distinct disappearance of the predominant rigid, vertical grids and somber colours. The artist’s conscientious exploration of inner textures reveals her feel for tactile variance. Having worked with varied surface material such as paper, board, wood, glass and presently canvas she believes in exploring the intricacy of each. The lyrical simplicity of her presentation is symbolic of the artist's keenness to find an answer to the complex layering of life.
In this series the artist meets her inner child and perhaps completes a full circle. She seeks the spontaneous joys of simple pleasures while discovering the overwhelming supremacy of her journey within.
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