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Wilson Souza

22 Followers

About Artist

Wilson Souza’s romance with feminine themes has become his trademark narrative style. It is characterized by semi abstract strokes of bold colours, rendering it with amalgam of fantasy and reality. There is wealth of ...

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Wilson Souza’s romance with feminine themes has become his trademark narrative style. It is characterized by semi abstract strokes of bold colours, rendering it with amalgam of fantasy and reality. There is wealth of sensuality of female form a tad exaggerated without defying the tenets of aesthetics. The grandiosity of the feminine beauty and the de facto caparisons to equate beauty and woman seems to have worked magic on the canvas. The semi nude figures stand as a metapour for truth as it is devoid of superfluities. By rendering richness of form the artist seems to have camouflaged the reality and takes to different realm of truth. The visual representation of form often makes one to fantasize to a certain extent and satiates the need to search for perfect form. The artist states this matter of truth from the rooftop. At the flipside is also the truth that beauty is essentially ephemeral in nature, is stated as all the female forms are in the age of exuberance.
His comparisons to woman and nature may at the outset look ordinary or an overt subscription of feminist ideology but they do make bold statement of woman playing her role as transmitter of life from one generation to the next. Figures with blank faces direct the viewer to imagine himself. Use of female form as metaphour for nature’s bounty comes frequently in his works. With use of bold and fairly balanced oil colours in large canvasses, he displays his prolific way of painting. The role of being nurturer to life is amply acknowledged as if paintings are a thanks-giving ritual. There is wee bit autobiographical aspect that does not escape the attention. The figures defy the horror of reality and present a picture of celebration and festivity, a fact necessary in the present day world. Female attributes such as mother, wife and her universal role being a caretaker of life seems to have been celebrated vastly in his work.
The grandiose, graceful, energetic and charming female figures absorb a generous rhythmic sensuality. They narrate the tales of motherhood, routine engagements in domestic chores and everydayness of life. The central image in his canvasses interrogates the viewer and the subordinate images lend an appropriate balancing touch. A great believer in practice and rigour, both of which he admits, gives great strength on the canvas, like everything else in life. Adept at big and small canvasses, he continuously engages with canvas on a daily basis. His figures display a contemporary outlook and metaphoric possibilities in ample measure. Surrounded by patriarchal supremacy and rightwing censorship, Wilson Souza has thrown an enquiry at the contemporary society through his thought of feminist leaning. The centrality of exploration revolves round moments of life, its absurdity and its paradoxes. The canvas Migration against the dull blue sky focuses on reality of everyday life particularly among the poor. The truth, pain, poverty and celebration make a mark on Wilson’s body of work. Departing from the normal course the artist has also created canvas on Last Supper, a theme often explored by many Indian artists in their own style.
Seeking further to create a dialogue between the viewer and the artwork he presents works with woman’s perspective. The paintings though serve the purpose of the aesthetic admiration they raise a query on social and political landscape and incite a change towards equality. Here it is not the woman artist with feminist ideology but a male artist with case for equality of gender. At once the painting’s query is directed towards the misogynist orientation of our social fabric and artist successfully comes out completing the task of being the catalyst for change.

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19 Artworks for sale

3 Sold Artworks

Testimonials

  • BIODATA

  • About Artist

    Wilson Souza’s romance with feminine themes has become his trademark narrative style. It is characterized by semi abstract strokes of bold colours, rendering it with amalgam of fantasy and reality. There is wealth of sensuality of female form a tad exaggerated without defying the tenets of aesthetics. The grandiosity of the feminine beauty and the de facto caparisons to equate beauty and woman seems to have worked magic on the canvas. The semi nude figures stand as a metapour for truth as it is devoid of superfluities. By rendering richness of form the artist seems to have camouflaged the reality and takes to different realm of truth. The visual representation of form often makes one to fantasize to a certain extent and satiates the need to search for perfect form. The artist states this matter of truth from the rooftop. At the flipside is also the truth that beauty is essentially ephemeral in nature, is stated as all the female forms are in the age of exuberance.
    His comparisons to woman and nature may at the outset look ordinary or an overt subscription of feminist ideology but they do make bold statement of woman playing her role as transmitter of life from one generation to the next. Figures with blank faces direct the viewer to imagine himself. Use of female form as metaphour for nature’s bounty comes frequently in his works. With use of bold and fairly balanced oil colours in large canvasses, he displays his prolific way of painting. The role of being nurturer to life is amply acknowledged as if paintings are a thanks-giving ritual. There is wee bit autobiographical aspect that does not escape the attention. The figures defy the horror of reality and present a picture of celebration and festivity, a fact necessary in the present day world. Female attributes such as mother, wife and her universal role being a caretaker of life seems to have been celebrated vastly in his work.
    The grandiose, graceful, energetic and charming female figures absorb a generous rhythmic sensuality. They narrate the tales of motherhood, routine engagements in domestic chores and everydayness of life. The central image in his canvasses interrogates the viewer and the subordinate images lend an appropriate balancing touch. A great believer in practice and rigour, both of which he admits, gives great strength on the canvas, like everything else in life. Adept at big and small canvasses, he continuously engages with canvas on a daily basis. His figures display a contemporary outlook and metaphoric possibilities in ample measure. Surrounded by patriarchal supremacy and rightwing censorship, Wilson Souza has thrown an enquiry at the contemporary society through his thought of feminist leaning. The centrality of exploration revolves round moments of life, its absurdity and its paradoxes. The canvas Migration against the dull blue sky focuses on reality of everyday life particularly among the poor. The truth, pain, poverty and celebration make a mark on Wilson’s body of work. Departing from the normal course the artist has also created canvas on Last Supper, a theme often explored by many Indian artists in their own style.
    Seeking further to create a dialogue between the viewer and the artwork he presents works with woman’s perspective. The paintings though serve the purpose of the aesthetic admiration they raise a query on social and political landscape and incite a change towards equality. Here it is not the woman artist with feminist ideology but a male artist with case for equality of gender. At once the painting’s query is directed towards the misogynist orientation of our social fabric and artist successfully comes out completing the task of being the catalyst for change.

  • Exhibitions

    Solo Exhibition-

    “Rendezvous with Feminine” Exhibition of Paintings at Orchid Art Gallery, Mangalore on July 2012.
    “Feminine Tales” Gallerie Orchid Mangalore 2015.


    Group Shows -

    Chitta Mudra Painting Exhibition at Gulbarga Art Gallery in Gulbarga 2004.
    Bhava Mudra Painting Exhibition at Ujjain (M.P.) 2004.
    Rainbow-02 Paint Box-Art Gallery in Bangalore 2004.
    Collage Exhibitions at Bharathiya Vidya Bhavan in Mangalore, C.K.P. Bangalore 2003-04.
    “Lord’s Last Supper” Orchid Art Gallery Mangalore 2008.
    “Romance of Monsoon”- Orchid Art Gallery Mangalore 2008.
    Himachal Pradesh National Level Painting camp & exhibition 2008,.
    Painting Exhibition in Kredo Art Gallery in Bangalore 2010,
    Kerala Lalit Kala Academy National level art Contest 2012, at Darbar hall, Cochin.
    Karnataka Lalit Kala Academy- The Indian Mosaic group show at Icon Art Gallery 2012
    India Art Festival, at Bandra Kurla Complex, Mumbai 2012.
    Dr. K. Shivaram Karanth Memorial State level Camp & Show at Balavana Puttur on 2013,
    Charity Dinner and Art Sale at Gateway Hotel, Orchid Art Gallery, Mangalore 2013.
    “Sagama Sambhrama” Karnataka Lalithkala Academy show 2015 at Pilikula Nisargadhama, Mangalore.

  • Award & Recognition

    Awards -

    Emirates Konkans Kasaragod-UAE Achievers Award-2013-14.
    Konkani Sahithya Academy Award 2012-13.
    Kannada Kairali Achievers Award at Kasaragod-2012.
    Kadri Lions Kannada Rathna Achievers Award by Lions Club Kadri, Mangalore on 2014.



    Camps-

    Karnataka Lalitha Kala Academy Camp Puttur 2002- 03,
    Karnataka Lalitha Kala Academy 7th Karnataka Kala mela 2003 in Bangalore,
    National Art Festival at Manav Sanketh Academy Ujjain 2004, 2005
    Kalangann Mangalore 2008, 2009, 2010.
    Rekha Chithra, Mangalore 2011,
    Ashuvarna Darshana” 2011 Moodubidre,
    Alva’s Chithrasiri State level 2011 at Moodubidre.
    State Level art camp at Balavana Puttur on 2013.
    National Level camp by Udupi Foundation Udupi May 2013.
    State level camp at Madikeri on March 2014.
    State Level art Camp Karwar on Dec. 2014.
    Karnataka Lalitha Kala Academy art camp Sangama Sambhrama 2015.

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