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Malchand Pareek

Bikaner, India 4 Followers

About Artist

The Stamp of Life is my newest creation: Once again, I bring my experiences to you by means of art — paintings, sculpture. “Stamp” means an administrative seal of approval. It has been used since the time when kings ...

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The Stamp of Life is my newest creation: Once again, I bring my experiences to you by means of art — paintings, sculpture. “Stamp” means an administrative seal of approval. It has been used since the time when kings ruled and it continues to be used until today. The way we perceive power has changed today, so has the “stamp” that symbolizes the power vested in it. This change has also affected the relationship between the rulers and their subjects, the people. In a large part of the world, the rulers are no longer called rulers but administrators. In the present democratic system, administration is represented by a political party or a coalition of several parties. Similarly, the subjects are no longer identified by subjects, but people, public or a group of people.
My newest creation, “Stamp of Life” employs as background the “stamps or seals” used in the past 60-100 years in India. Revenue stamps used by the kings of Bikaner, Jaipur, Bundi, Udaipur, Tonk, Shrikrishnagarh, Alwar and Bhopal have been used as the foundation in this series. These estates or principalities never got along well. This is represented in their use of languages as well. The revenue stamps from these estates are in a variety of languages, including the popular and not so popular ones. Besides Sanskrit, Farsi, Urdu and Arabic, Rajasthani languages profound form “Banika” has also been used. It is written in Rajasthani language, using ‘modiya’ or ‘muradia’ script. In the era of estates or rule by kings, Stamp served as an administrative approval of any task related to administrative departments and/or courts of law. Based on the task, revenue was charged for the stamp at the rates of 2, 4, 6 and 8 aanaas. During those times, each department was headed by a minister who was directly associated with resolving the public’s issues and his final responsibility was to the King.
While I was doing my creative thinking for a new series in the last few years, these stamps attracted my attention as a possible subject to explore via the medium of art. Old hand-made paper and block printing, impressions of human thumbs and fingers, various languages written by various hands initiated/a creative process in my head. I was most attracted by their age old human expressions; stamps were a timeless art piece in themselves.
I have also worked on the “original stamps” of the estate-age, but I had always wanted to take them out of that tiny form and into a large form, on a large canvas. It is the artist in me and the artist’s curiosity that has been hungry to explore such a subject on canvas. I am no more than a means or a link between the stamps and this creation through which this exploration is done. The creations knew what they wanted to be and they kept flowing through my hands.
As an artist, I do not want to analyse, but if someone were to ask what these creations mean to me, I would say this: They are the voice of the “common man”, of his dreams, aspirations, and desperations and also of his disappointments, of the unfulfilled dreams. The common man appears in different forms in these creations: He appears busy in accumulating things of his everyday utility; he is also looking for peace of mind; he is also smiling, looking into his future, seeing his dreams materialise. No matter what work this common man does, he is constantly working toward providing the basic necessities for his family, of roti (food), kapda (clothing), and…..and enough?
In a way, I do not see any change between the old estates and the present democratic governments. The subjects of the estate age are today’s public or people and they pay taxes instead of “lagan”. The only change has been in the terminology that is used. We still pay various taxes and we still use “revenue stamps”. Administrative Stamps or seals of approval of the past only cost a few annas, those of the present cost anywhere between 10 to thousands and millions of rupees. This price hike also tells the story of inflation.
When I started working on this series, I was very troubled by the concept of ‘then’ and ‘now’. But as I moved ahead with these creations and with the creative process, ‘then’ and ‘now’ became very simple as something that can be seen every day and in everyone’s life. This difference between ‘then’ and ‘now’ became so clear and I saw it in the contemporary human existence? In her/his thoughts, emotions, behavior; in the entire society’s collective behavior.
The series “Stamp of Life” symbolises karmanyata, to perform your task or karma in life with complete honesty, dedication and passion. This is the only true path in life. Karma is the real background of human existence and thus it is only when you are constantly engaged in your karma, that you feel true contentment. You are so engrossed in your task, karma, that you forget everything else and even the fruits of the task you are engaged in become irrelevant. It is only the KARMA that is your absolute right. This is of prime importance, the source and the life-spirit of your existence. In fact, the desire for the fruits of a task is discouraged in Gita:
KarmanyeVadhikaraste, Ma phaleshoukadachana, (The Bhagwad Gita)
This series comprises some sculptures and an installation as well. The sculptures represent a television dish antenna with wood and metal. Television is the universal spy in today’s materialistic and consumerist society that has completely changed the human society. Television is present 24/7 in the service of humans. There is something in it for every age-group and you can access it at any time. The installation that is part of this series uses mirrors and art. While the mirror curtain is on one side, the paintings are on the other side. Perhaps, the mirrors might provide a glimpse of the beauty that lies within and is concealed by the outside.

I believe in this: To enjoy the simple joys of my family, friends and those that are around me and not drown these joys in the busy life of today. As I write this, I am reminded of these lines from the Hindi poet, Kumar Ambuj:
Mein guzar chuki behtar cheezon ko
vartamaan mein ghatit karna cahta hoon
bhavishyako asunder itihaas se bachanachahtahoon
mein kapas ko na gana hi dekhna chahata
aur gehuko bhookh se bacahna chahata hoon
mein har jagah insaan ka dakhal chahta hoon ityalam.
I want to preserve the best in the past for the present and save the future from the worst in the past


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25 Artworks for sale

1 Sold Artworks

Testimonials

  • BIODATA

  • About Artist

    The Stamp of Life is my newest creation: Once again, I bring my experiences to you by means of art — paintings, sculpture. “Stamp” means an administrative seal of approval. It has been used since the time when kings ruled and it continues to be used until today. The way we perceive power has changed today, so has the “stamp” that symbolizes the power vested in it. This change has also affected the relationship between the rulers and their subjects, the people. In a large part of the world, the rulers are no longer called rulers but administrators. In the present democratic system, administration is represented by a political party or a coalition of several parties. Similarly, the subjects are no longer identified by subjects, but people, public or a group of people.
    My newest creation, “Stamp of Life” employs as background the “stamps or seals” used in the past 60-100 years in India. Revenue stamps used by the kings of Bikaner, Jaipur, Bundi, Udaipur, Tonk, Shrikrishnagarh, Alwar and Bhopal have been used as the foundation in this series. These estates or principalities never got along well. This is represented in their use of languages as well. The revenue stamps from these estates are in a variety of languages, including the popular and not so popular ones. Besides Sanskrit, Farsi, Urdu and Arabic, Rajasthani languages profound form “Banika” has also been used. It is written in Rajasthani language, using ‘modiya’ or ‘muradia’ script. In the era of estates or rule by kings, Stamp served as an administrative approval of any task related to administrative departments and/or courts of law. Based on the task, revenue was charged for the stamp at the rates of 2, 4, 6 and 8 aanaas. During those times, each department was headed by a minister who was directly associated with resolving the public’s issues and his final responsibility was to the King.
    While I was doing my creative thinking for a new series in the last few years, these stamps attracted my attention as a possible subject to explore via the medium of art. Old hand-made paper and block printing, impressions of human thumbs and fingers, various languages written by various hands initiated/a creative process in my head. I was most attracted by their age old human expressions; stamps were a timeless art piece in themselves.
    I have also worked on the “original stamps” of the estate-age, but I had always wanted to take them out of that tiny form and into a large form, on a large canvas. It is the artist in me and the artist’s curiosity that has been hungry to explore such a subject on canvas. I am no more than a means or a link between the stamps and this creation through which this exploration is done. The creations knew what they wanted to be and they kept flowing through my hands.
    As an artist, I do not want to analyse, but if someone were to ask what these creations mean to me, I would say this: They are the voice of the “common man”, of his dreams, aspirations, and desperations and also of his disappointments, of the unfulfilled dreams. The common man appears in different forms in these creations: He appears busy in accumulating things of his everyday utility; he is also looking for peace of mind; he is also smiling, looking into his future, seeing his dreams materialise. No matter what work this common man does, he is constantly working toward providing the basic necessities for his family, of roti (food), kapda (clothing), and…..and enough?
    In a way, I do not see any change between the old estates and the present democratic governments. The subjects of the estate age are today’s public or people and they pay taxes instead of “lagan”. The only change has been in the terminology that is used. We still pay various taxes and we still use “revenue stamps”. Administrative Stamps or seals of approval of the past only cost a few annas, those of the present cost anywhere between 10 to thousands and millions of rupees. This price hike also tells the story of inflation.
    When I started working on this series, I was very troubled by the concept of ‘then’ and ‘now’. But as I moved ahead with these creations and with the creative process, ‘then’ and ‘now’ became very simple as something that can be seen every day and in everyone’s life. This difference between ‘then’ and ‘now’ became so clear and I saw it in the contemporary human existence? In her/his thoughts, emotions, behavior; in the entire society’s collective behavior.
    The series “Stamp of Life” symbolises karmanyata, to perform your task or karma in life with complete honesty, dedication and passion. This is the only true path in life. Karma is the real background of human existence and thus it is only when you are constantly engaged in your karma, that you feel true contentment. You are so engrossed in your task, karma, that you forget everything else and even the fruits of the task you are engaged in become irrelevant. It is only the KARMA that is your absolute right. This is of prime importance, the source and the life-spirit of your existence. In fact, the desire for the fruits of a task is discouraged in Gita:
    KarmanyeVadhikaraste, Ma phaleshoukadachana, (The Bhagwad Gita)
    This series comprises some sculptures and an installation as well. The sculptures represent a television dish antenna with wood and metal. Television is the universal spy in today’s materialistic and consumerist society that has completely changed the human society. Television is present 24/7 in the service of humans. There is something in it for every age-group and you can access it at any time. The installation that is part of this series uses mirrors and art. While the mirror curtain is on one side, the paintings are on the other side. Perhaps, the mirrors might provide a glimpse of the beauty that lies within and is concealed by the outside.

    I believe in this: To enjoy the simple joys of my family, friends and those that are around me and not drown these joys in the busy life of today. As I write this, I am reminded of these lines from the Hindi poet, Kumar Ambuj:
    Mein guzar chuki behtar cheezon ko
    vartamaan mein ghatit karna cahta hoon
    bhavishyako asunder itihaas se bachanachahtahoon
    mein kapas ko na gana hi dekhna chahata
    aur gehuko bhookh se bacahna chahata hoon
    mein har jagah insaan ka dakhal chahta hoon ityalam.
    I want to preserve the best in the past for the present and save the future from the worst in the past


    Malchand Pareek: Era Of The Kings Inspired Me!

    I use stamps in my paintings because the stamp is connected with every person because detail or proof of anything needs a stamp.The stamps that I have made collection of are from state periods, the era of kings. At present I have stamps of 14 states and I paint and direct all my thinking and visuals onto those stamps. The requirement of a common man is bread, clothing, shelter. We can have the bread and clothing by working at a job but shelter is a major investment which comes by with great difficulty. So all my concepts diverted towards that that’s why my entire series is called “Stamp of Life”. On Mojarto there is a painting where the snake charmer is playing an instrument I saw him in Pushkar where the snake charmer was playing music and snake wasn’t responding So he started poking the snake to make the snake rise up So I got the visual that he is not urging on the snake, he’s trying to bring up his future. The quicker the snake rises, the sooner he will get money from viewers. So I started watching as he was trying to pull the snake up but his attempts were wasted. Hence I have put a building in place of that snake, rising from that typical bamboo basket. The building is static and the snake charmer isn’t poking it, he only plays the instrument. There is the second painting of mine where an old man is sitting near horse cart and there is one majestic building on that cart. It represents the numerous homes he must have built for his family, and the ones he will be required to build in the future. So on the cart the house is divided into four partsBut even though, his thinking is imaginative and rooted in fantasy. They are photo realistic, seemingly real like an alternate reality blinking back at you.In mixed media there are paintings which create a illusion of whether or not it is an actual photograph or a painting. Many times in exhibition people come and they touch the work in order to see whether the artwork is or isn’t pasted with photographs. The paintings have a 3D effect and I make works that are so photo realistic they look as if a photograph is embossed onto the canvas.

  • Academics

    1998 B.F.A (Applied Art) Rajasthan School of Art, Jaipur

    2009 M.F.A (Applied Art) Rajasthan School of Art, Jaipur

  • Exhibitions

    SOLO EXHIBITIONS

    2008 “Thread’s Of Life” in Jawahar kala Kendra,Jaipur.

    2012 “Concrete Jungle” in Jwahar kala Kendra, Jaipur.

    2013 “The Stamp Of Life” in Samanvai Art Gallery, Jaipur.


    GROUP EXHIBITIONS

    2006 “Real Digital Graphic art Exhibition” Bikaner.

    2010 “One square foot show” in “Ahamdabad ni gufa” at Ahamdabad.

    2010 “India International Art Fair” in Pragati Maidan, at Delhi.

  • Award & Recognition

    2011 State Award in 52th “Annual Art Exhibition” by Rajasthan Lalit Kala Academy, Jaipur.

    1997 Participated in Lalit Kala Academy Kala Mela. Jaipur

    1998 Participated in 39th Annual Art Exhibition of Lalit Kala Academy, Jaipur

    2005 'Nirman' of BD Bangur endowment for Art and advertising photography,Kolkata.

    2006 Participated in Kala Utsav Camp by 'Kala Sansthan' for Photography, Bikaner

    2008 Participated in Kala Utsav Camp by 'Kala Sansthan' for Photography, Bikaner

    2009 Participated in 151th Alumni of Raj School of Art Jaipur

    2010 Participated in “Rang Malhar 2010” with Senior Artist in Vyom Art Gallery,at Jaipur.

    2011 Participated in “Rang Malhar 2011” with Senior Artist in Vyom Art Gallery,at Jaipur.

    2012 Participeted in “Rang Malhar 2012” with Senior Artist in Vyom Art Gallery,at Jaipur.

    2013 Participated in “Rang Malhar 2013” with Senior Artist in Vyom Art Gallery, at Jaipur.

    Painting and Photography also on “Saatchi Online, London.

  • Testimonial

    My experience with Mojarto.com has been very good. I am working with Mojarto.com from almost past 5 years. The team is always very good and helpful. Thank you for making available such a big and great platform for the artists. The services have always been genuine and very transparent. Good wishes from me!

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