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| Wednesday, 10 November 2004 |
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The importance of being Segar Reviewed by Gwen Herat
With an identity of his own to captivate his critics, he is the manipulator of strokes that blend with decadence. Segar's one man show at the Felix Gallery echoed the emergence of innovation in art with a magical essence. It was the substance of original enchantment that spellbound the meticulous and compact Felix Gallery and showcased the brilliance of an artist. Segar is a connoisseur and the conservatism which has resulted into renaissance is ample proof of the philosophy that he applies to his work. I found an abundance of quality and a sense of sensuousness removed from sexism in his semi-nudes. The ecstatic lyricism has flown from his mind and not inspired by any medium such as literature or from nature painting. He is the painter of the 'indoor' hardly emerging 'outdoor' to capture images on canvas. Rather, he depends upon figures to express the art of painting. Sri Lankan art cannot be categorised to be identified with historic periods but temple murals and Sigiriya paintings do indicate the mood and concept of artists of yore. With Segar, a new period is born where he bears witness to the new concept for young artists to rely upon. However there again Segar limits subjects indoor with absolutely nothing to do with nature. It is his own school of art and he is the master of its creation. No doubt the superlative qualities have dazzled even for the sternest critic to ecstasy. I was awed by something that never appealed to me before. Being a follower of the Italian artists who have often inspired me as a student and being someone who has never been impressed by the art of impressionists, I did find a new relationship with Segar's art. Articulate with eloquence with the power of modern dissonance, I did, more than once, found his brush straying away from impressionism towards a more formidable combination of contemporary, modern and abstract visualisation. In his brush, he carries the nuances of refinement, comparable in immensity, grandeur and style. Perhaps the environment of the compact Felix gallery did more justice to his display rather than many of the art galleries I have seen. World of Art When one understands the polychromatic tangles between Monet and Pissarro, it will only help the art of Degas in literary context. Among the French Impressionists, Manet is accepted as the superlative but Renoir holds sway over all outside France. To what extent Renoir was an impressionist as one who practised and followed faithfully what Monet and Pissarro preached, still leaves me confused. Most of them were painters from the early 1880s to 1920s and bore the same stamp in art. From Degas to Ganguin, the whole bunch of them were overrated and I can foresee an argument that is tenable. Why I make this statement is that unlike our own Segar, they painted nothing but what they saw. Sadly they were the first to break away with the Renaissance art. Paris Louvre exhibits most of them. Segar will never encounter this oddity because he paints over all 'ism'. After everything said, done and explored. Impressionism leads straight to Picasso though Segar or for that matter, many artists might not agree with me and I still swear French Impressionists were overrated for today's world of art. Segar only paints figures and their kind and appear to possess an infinite adoration for religious figures. Among many I saw Lord Ganesh twice over, Lord Buddha, Jesus Christ, saints, etc. The painting of Lord Buddha was my pick for the day. This water colour vision done in 1987 (24 x 19) and over 15 years ripe, retained the old gold, dusky brown grading to black streaks in a rhapsody of reverence to the sage. In contrast, Lord Ganesh 40 x 30 done this year with oil on canvas, was vibrant with shades of orange, yellow and brown. The seated Ganesh clad in robes for a king had one tusk chopped.
When Segar painted this particular mural, he had a kaleidoscopic haze in mind that he lightly transferred into canvas surfacing the ardour of Hindu mythology. The Monks with oil on canvas 40 x 30 were different. Here abstract expressionism dallied where the painter's temperamental attitude towards treatment being evident. He went orthodox to retain the sombre yellow prominently placed on them and overlapping at some point. I particularly liked The Horse in oil on canvas 40 x 30. It had a hidden ideology behind its folds and the deeper one looked into the characters, deeper the mind becomes entangled. And Segar is a Master unto himself, relying deeply on his own concepts. Very abstract at one point, straying towards cubism next but he has all options at his finger tips and the brush never let him down. He has the capacity to blend and overlap colours and produce vibrance. There is also one distinct feature in his figures the way he puts some expressions that boil down to terror in the eyes. They are demanding, piercing and penetrating even to the extent of creating fear in the mind of the observer. This was my impact the moment my eyes rested on his art. However The Friends in watercolour 24 x 19 had a softer and gentler effect. The female figure was feminine and doe eyed with inquiring look. Her friendship with the beast was a bondage and spelt a tale of love for the dumb. Beautiful and striking enough to grace the principal wall of an auditorium. Line drawing too seems to be a passion with Segar and he does it free hand. None of his paintings are autobiographical, at least not to my knowledge. His artistic work has great joy and appear at varied stages that of a restless spirit. Did I also encounter a little morbidness but then artists have varying moods when they sit down to paint and subconsciously, it is there on canvas. All in all Segar is a great artist and needs an international platform to expose his creativity. Is it not time that our sleeping missions abroad did some canvassing and exposure on Sri Lankan art? It is just a matter of putting their act together and hold exhibitions to attract buyers as well as critics alike for the benefit of great artists like Segar and the rest. **** Back **** |
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