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Monday, March 9, 2009

"I create Rainbows from the White purity of the Infinite"
victor0vijay@gmail.com










The series is inspired by Autmn sensibilities
Size:34"X42"
Acrylic on canvas
$4500 each
Status:available






Fragrance of Autumn-1
The series is inspired by Autmn sensibilities
Size:58"X78"
Acrylic on canvas
$11000
Status:available
FRAGRANCE OF AUTUMN
A very long time back I lived and painted on an old boat anchored on Danube near Black sea in Romania. It was autumn and the landscape was a passionate rust, crimson and yellow ochre. It was magical to say the least. I was in communion with the landscape. At other times I would breathe in the autumn landscapes of Europe in Finland, Tatra Mountains in Slovakia and Poland, Styria in Austria, Alpine Piedmonte in Italy, France, and Hungry.The senses are seduced by the proliferating warm colours as the leaves turn from cool green to life red, rust, brick, yellow-ochre, brown colours. Something happens to soul, it starts to sing, is inundates by a dazzling warmth and pleasantness. Autumn used as a metaphor run to life as well as death. Poets often use the negative metaphor but for visual artists autumn is the great celebration of the festival of colours of joy. By a quirky association I relate the red beard of Vincent Van Gogh in his famous self portrait (1887) to the red of autumn.But is not the autumn the surfeit of rejuvenation. Do we not talk of the birth death rebirth cycle? Is the Resurrection of Jesus not an emblem of continuity of life and hope? So why be afraid of death? Paul Laurence Dunbar looks at autumn as a celebration and reason of joy—The earth is just so full of fun
It really can't contain it;
And streams of mirth so freely run
The heavens seem to rain it.
Don't talk to me of solemn days
In autumn's time of splendor,
Because the sun shows fewer rays,
And these grow slant and slender.
Viktor Vijay
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Fragrance of Autumn-1
Dealt in splash-dot style I have developed this technique in 2003-4 while satying and working in Salzburg, Austria in my friend Eva Mazucco's atelier



Song of Eternal
Victor Vijay's artLife is a search of what is beyond, subtle, symbolic. Human imagination finds its great escalation and unfolding in Nature. Cosmos and Nature subsumes the human as an interpolation of itself. It is the holistic presence of Nature that underlies dazzling beauty that provokes human joy. The pastoral invoked the serenity of Nature but then nature unleashes more. Nature evokes awe and cosmic mysteries. Moods of Nature in its pristine glory nudge our senses into the unfamiliar domains of emotions. Nature seeds unfathomed feelings and magic.Victor Vijay is not searching for the ephemeral in Nature. His art does not capture moods of Nature rather he rejoices in the symbolism, intuitiveness and feelings that Nature distils. His paintings are not about descriptive elements of Nature. He paints the flow of feelings that emerge as you confront Nature. Thus out of the necessity of his chosen expression his art has to be abstract. He abstains from cerebral details and dwells in the feelings that lace inner happiness. He is a shepherd in the Pastoral invoking through his whispering art the romance of Eternal more like Christopher Marlowe—Come live with me and be my love,And we will all the pleasures proveThat valleys, groves, hills, and fields,Woods or steepy mountains yields.This artist does not expand on the individual, he evokes a mood of yearning, a desire to be in the comforting lap of Mother Nature. His art is not into naming, describing, it is more into feeling. Victor speaks through the enveloping silence in his paintings. Gerard Manley Hopkins is what the artist echoes—And beat upon my whorled ear,ELECTED Silence, sing to mePipe me to pastures still and beThe music that I care to hearVictor’s paintings are the poetics of the blooming soul. In them is the desire to express the inexpressible; in the moment he searches the eternal. Through his paintings he is trying not to posit Nature as a physical entity but he provokes to awaken the inner vision so that we can hear the SONG OF ETERNAL.
The Magic of Creation

we are not what we appear but what appears from us. A new way to look at art. Life is beautiful for we have a sense of beauty. it is this which is the highest form of human craving. this is nirvana or as Abrham Maslow said it is self actualization. This blogg is engendered to look for revealation of aesthetic in paintings, sculptures and kindred expressions in the contemporary, modern and historical so that we gift a heritage for future mankind.




Publication:Times of India Mumbai;Date:Sep 14, 2007;Section:Whats Hot;Page Number:52—(Viktor) Vijay Kumar is Director and Curator (India, Asia) of European Artists Association Velbert Essen Germany. He has been honoured with the best painter award by Sahitya Kala Parishad. His Medium: Vijay’s works are characterised by internal spontaneity and vibrancy. Employing the raw energy of colours—playing with light and shade, warm and cool tones, making marks like heart-rhythms—his paintings are visually fascinating and psychologically compelling. They resonate with an extraordinary force, incredible sensorial richness and intense symbolic and emotive value. His Style: Vijay’s paintings are mostly abstract and nonrepresentational. Pulsating with organic energy, his paintings like ‘Celebration’, ‘Passion Of Red’ and ‘Evolution Of Man’ captivate spectators with their spontaneity and emotional intensity

ETHEREAL ROSES AND RAINBOWS
Journey of an Artist
by Viktor vijay










CHAPTER I
I was born in southern part of Austria in the province of Styria. My parents named me Petra. My mother was a gypsy from Poland and father Austrian. Father was a sailor who met my mother while holidaying in Tatras in south-eastern Poland. He saw her in a village pub where farmers gathered after the day’s work in fields. Carefree laughter floated in the pristine mountain land; over glasses of beer tales from grandfathers’ time would be recounted, heroics from Polish wars remembered and the rustic beauty of this sun-kissed and wind swept hardy landscape would reflect in the faces of these simple folks. It was here that my father fell in love. He saw her in the pub enjoying her beer with some friends. He went over to her and asked her name. But she laughed; she laughed with her radiant eyes and her dark hair floated in the fresh mountain air. She was dressed in vibrant, colourful clothes, as is the custom with gypsies all over Europe. She carried in her the freedom of bohemian winds and cascading music of mountain rivers flowing from Tatras. Rather my mother was the sensuous, heady wind that blew across valleys, forests, houses and barns, villages and vales. She was freedom itself. It was this overflowing being of my mother that my father found so enchanting and different from what a settled life breeds in a person with permanent weight of attachment to people and places. It is the freedom from the fear of tomorrow when a person moves all the time, every moment every day is free and fresh as the first dewdrops in the morning. Life is a renewal every moment. He married my mother in the village church and celebrated marriage feast with the villagers. My father returned from his vacation with his bride. He settled her in the beautiful valley in Styria where he had a house, which he inherited from his grandfather’s brother. The house was built with logs and wood from the forest around the house. My father also owned the forest; being part of his inheritance. The house was an old one and had beautiful, carved front door with strange images and symbols. Inside the living room on walls were hanging wooden icons, landscape paintings, and old sea maps from the Habsburg period. My grandfather was also a sailor and Austria had a seaport then in Trieste. Lace curtains covered the windows, which women knitted with their own hands as was common in these parts. There were four chairs and a large sofa covered with bearskins and a heavy carved walnut table. Bookshelf stood in one corner stacked with old, yellowed, and yellowing books. There were two large comfortable bedrooms on first floor, furnished with spacious comfortable wooden beds. The bedrooms had a fantastic view of the forest and the valley. Rising sun would bathe the valley in soft crimson yellow, the birds would soar, singing; thus the chaste morning would herald a dew-fresh new day. The kitchen was large and comfortable. A big wood-fired stove, erected in the middle helped circulate warm air in the harsh winter. A mahogany dining table stood closer to the wall surrounded by eight chairs. It was here that my mother baked her first fresh bread after her marriage and cooked for her husband and for us later when I arrived.
It was a beautiful land—rolling hills, sensuous, fragrant valleys, exquisite sunsets, white winters, warm summers, scintillating springs and brown ochre romantic autumns. It was a land where love grew in the form of fragrant linden flowers; flowing brooks, singing canaries, jingling bells, nature composed music—as cows grazed in the lush meadows and virginal winds kissed endearingly every blade of grass, every flower in bloom and every leaf of tree.
It was in this fecund land that I was born to my mother. In the nature's nursery here, my childhood was nursed. It was here that I played with squirrels and birds, collected wild flowers, raced with the winds, watched fishes gambol in streams, and learnt my lessons about colours from changing seasons. In winters by the stove, my mother would tell me tales of gypsy kings and her clan and far off lands from where they were forced to flee, many centuries back. That land, she told me was in Asia and called Hindustan. It was a magical land and all gypsy tribes belonged to it. In her haunting, lilting voice, she would sing songs of yore while cooking or putting me to sleep. The songs were about brave kings and wars they fought, about lovers whose love could find no fulfilment, or about the land of ancestors, which overflowed with honey and riches. There was nostalgia, soft pain, and suffering. The tales celebrated the pain for the lost land. The reality of the land existed only in imagination. Imagination fed further imagination over centuries of exile and the land existed more as a feeling, as a thought, as an ideal in the hearts and minds of the people than as a reality out there. The changes in the external world did not affect, the land was safe from all dangers, as it existed inside the people. It was the Shangri La of soul—never ageing or changing. This is what I inherited from my mother—‘what exists inside remains constant, forever fresh, and young.’ Outside, mechanical time brings about physical changes and decay but the spiritual, inner time is forever the same. This is the eternal white lotus of soul. Much later, I would discover the roots of these thoughts in India.
From my mother I learnt to view things in a different magical way. She told that it is not the expanse but the core, the essence of things that we should understand and appreciate. The expanse creates illusions and is the cause of much of unhappiness in the world. The external world must collapse back in our inner kernel of being as a totality, as an infinite iota. We must first learn to open inside—outside will open automatically. My mother and Mother Nature were my teacher, guide, and friend. I would interact with stars as one does with a friend; fairies from my mother’s tales would descend from heavenly heights to play with me, the trees and flowers understood when I would talk to them and in turn I would relish what they told me.



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