(Chitrakoot Gallery - Kolkata)
ode to 2000 :THE TELEGRAPH (KOLKATA) 16-10-2000
milon's Melancholy :THE STATESMAN (KOLKATA)22-10-2000
On a lyrical note : ECONOMIC TIMES-( KOLKATA) 22-10-2000
milon's fantasy: Indian mythology
(Norton Art Gallery - Sydney /Cymroza Art Gallery - Mumbai)
Catalogue 2001 "milon's fantasy: Indian Mythology"
Interview with Indian Link (Sydney) 24-05-2001
Angry Young Man : India Down Under ( Sydney) 02-06-2001
Hit or Myth :Mosman Daily (Sydney) 07-06-2001
Diary …… :The Metro Pulse Weekly 09-12- 2001
Colourful Stories : Times Of India (Bombay Times) 25-12-2001
(Jehangir Art Gallery, Mumbai /India Art Gallery,Pune)
milon Ka Mela : Mid - Day 06-08- 2002
Getting Poetic with the Paintbrush : Times Of India (Bombay Times) 07-08-2002
Portrait of a painter : Mid Day Metro(Lokhandwala & Versova) 14-11-2002
A brush with art : Times of India (Pune)23-01- 2003
RISING TO A CRESCENDO : The Indian Express Pune Newsline 30-01- 2003
ALTHOUGH, quite adamantly resists the idea of being inspired by or even compared to any of his precursors, there is no mistaking a visual echo of Michelangelo's The Last Judgment in milon Mukherjee's latest series of paintings, ode to 2000. In a painting he calls Transition, blurred children's bodies done in black, gray and brown are made to swim involuntarily in the air, against a gloomy yellow background. Given the nothing can be more preposterous than taking the names of these two artists in the same breath, what unites the Florentine master painter of the timeless frescos on the ceiling of the Sistine Chapel with the Calcutta born, Mumbai-based Mukherjee (as it indeed does with countless other artists who ever wielded a brush across cultures, countries and centuries) is a sense of agonized frustration with their times and society.
From 1508, (when Michelangelo began painting the Sistine ceiling) to 2000, the way human beings suffer, struggle to find love, hurt each other and end up in an irredeemable state of confusion has not changed. Only the grand, colossal vision of artists - in keeping with the trends of the time - have been reduced to a much smaller, punier scale. So an artist like Mukherjee, when he is looking for a potent symbol to express the doubts, dilemmas and dichotomies he finds around himself, chooses the figure of the goat - which is both helpless and ridiculous - as a leitmotif.....
For the past three years, the artist has been exploring the way life has changed for the turn of the century India. He is thwarted by floods, droughts, hunger and lack of education - situations over which he does not seem to have any control - and yet, hurtling his way towards globalisation and an IT revolution.....
Children robbed of childhood, elusive mother, lovers swirling in suspended
animation, unable to reach out and touch each other, lesbians hurled against
each other - their forms bending in absurd angles of contortion the situations
captured in Mukherjee's canvas represent pain, turmoil and confusion.....
By the time you finish reading this, Mukherjee could well have reinvented himself all over again.
MUKHERJEE is a reticent, complex artist. Eighteen of his paintings (oil
on canvas) are on show at the Chitrakoot Art Gallery. The exhibition is
called milon's ode to 2000. The works are leasing and open to many levels
result was a versatile complex sensibility exposed to the world Rainer
Maria Rilke would have approved of him. The wealth of his experiences
entered into his blood stream and 'returned' to him, that is perhaps when
the artist began to reflect upon himself and/or what ever he wanted to
is a note of lyricism in these works, especially in 'The Touch'.....
The new millennium was ushered in with a lot of fanfare globally. In fact, this particular year is a milestone in the history of time. It also gives us, the passive bystanders, the rare opportunity of being part of history by virtue of being here and witnessing history being created. But there are some who prefer to participate actively in the creative process and etch out their experiences for posterity. Veteran artist and author milon Mukhopadyay is one such creative person who creates on canvas a series of oil paintings and offers them as his "ode" to this new millennium. milon's (as he is popularly known) works have a dramatic quality. His deft handling of colours create a strange and surreal world, a world that is larger than life. This is the universe which is as ancient as the collective consciousness of human beings can reach and as modern, magical and utopian as one which we can only imagine. He is an artist who loves and lives life to the full, a man who feels the pulse of the masses and his paintings are a celebration of life. An exhibition of milon's work will be inaugurated this evening at 5.30 by Sumit Mazumdar and art loves will get an opportunity to watch this Mumbai based artist's recent works.
artist milon Mukherjee came to this country with an invitation to exhibit
his latest oil paintings in The Norton Gallery in Blues point Rd, McMahons
Point, Sydney..... is showing his work in an exhibition called milon's
fantasy Indian mythology, which opened on Tuesday and runs until June
10 2001 ....
Can we say that an East/West synthesis can be further nurtured through
the medium of art?
"India Down Under"
once in art circles as the angry young man, has milon mellowed over the
paintings explore the spiritual and mystic realities of the cosmic and
beyond. Though not an abstract painter, milon resorts to imaging the abstract,
drawing upon the resources of ancient Hindu iconography - those who in
the obscure past probed deep into the mystique of creation and the aspects
Artist milon Mukherjee is of the firm belief that a painting cannot be understood; instead it has to be experienced. So, while his canvasses narrate a story, he also tries to strike a chord with the viewer. A chord which speaks the language of compassion. Currently in the city preparing for his forthcoming exhibition, milon speaks about his odyssey into the world art. "Painting is my first love, I am married to it and all the canvasses are my children, all girls," 'he adds, laughing. "When someone purchases one, I do a bidaii, as I consider it married." Yes, the bond he has with all his children is alive and well. It pulsates with life and is a reflection of his feelings. milon's art journey began at a young age. Much to his lawyer father's displeasure, he joined art school. " I use to like everything except science, technology and math. The only thing I knew about was positive and negative space, which I tried to use to the maximum. In college, I would observe and sketch refugees at the station, people at the coffee house, etc." While portraying situations, milon's preference is for the human face, set against a backdrop of the situation. When in college, milon went to Kedarnath and Badrinath in search of 'the truth'. "I was soul-searching and was trying to find peace," he explains' thinking back. The place where he did find some measure of peace was in innocence and his first exhibition ' children with out childhood' in Kolkata, reflected that. "One of my paintings had children selling kites, but not flying them. This exhibition was about those unfortunate children who lose out on their childhood." milon tells us. The artist later moved to Mumbai where it was an upward struggle once again. Much of his life is captured in his paintings which oscillate between turmoil and bliss. "My canvass stamps time. Sometimes, even if the turmoil is not personal, the painful happenings in society affect me and thereby creep into my work." He says. milon has exhibited his work all over the world barring Russia, New York and china. "My favorite place is Paris as I love its spirit. And yes, I would like to exhibit in New York. Kolkatta, however, is not an option, because it does not have a market for art," he explains. An oil loyalist, milon's years as a student involved watercolour and charcoals but "I always had a craving to use oils. This is a medium with infinite capacity." Other exploits have included acting in serials like Hrishikesh Mukherjee's Hum Hindustani, writing and being a voice over artist. "But it is art which overpowers me and is my quest in life," milon confesses.
milon Mukherjee, returns in this exhibition to are favorite subject: the deities of Indian mythology, cast in their playful aspect rather than as objects of awe or worship. milon's sensibility is that of the story- teller, who delights in fable and anecdote: in spirit, he is the descendant of the poet- sages and the puppet narrators who have drawn audiences in to a vivid dance of images down the centuries. In these recent paintings he presents the divine flautist Krishna charming the cows and the milk mind of Vrindavan, Ganesh lost in a trance of his won musical making, shiva and parvati riding the bull of Nandi. At first sight, these images seem to be in accord with the accepted iconography, if greatly altered by his taste of minimal lines and percussive effects of colour when we look closely, how ever, we see that many of these paintings render amusing variations on myth and iconography; they have the air of private jokes that have been shared. In one of the new frames, the goddess Durga confronts us in all her imperious majesty, but her lion gives us a quizzical look in another, Ganesha wanders into Vrindavan and assumes Krishna-like overtones, turning into a blue elephant who is learning to play the flute, While the wonderstruck inhabitants of Vrindavan look on from behind the trees.
His sensibility is that of a story-teller who delights in fables and anecdotes. In some of his recent works, he has painted Lord Krishna charming the cows and the milk maids of Vrindavan; Shiva and Parvati riding Nandi images that are greatly altered by his propensity for minimal lines and percussive effects of colour.
The Indian Express
(Pune Newsline) 30-01- 2003
Mid - Day 06-08- 2002