KATHMANDU, MARCH 11

Celebrating prominent artist Ragini Upadhyay Grela's lifetime of dedication to the art world, 'A Retrospective of an Artist' featuring 239 of her works kicked off at the Nepal Art Council, Babermahal from March 8.

The retrospective features an array of paintings, prints, drawings and lithographs by Upadhyay Grela that she created from 1978 to 2023 in different media such as acrylic on canvas, linocut, etching, litho, water colour, and mixed media.

Spread over the ground, first, and second floors of the gallery, the retrospective is a glimpse of the artist's artistic journey of 45 years.

Inaugurating the retrospective on the occasion of the International Women's Day on March 8, President Bidya Devi Bhandari said, 'Art is an incredible medium to understand and recognise lifestyle, culture and beliefs of society since the ancient times. The artist (Upadhyay Grela) has made a major contribution to Nepali art and this has helped make Nepal renowned across the world. The maturity seen in her artwork indicates the amount of dedication she has put into her craft.'

The retrospective serves as a reminder that it may take a day or two to showcase and appreciate artworks of an artist, but it is a lifetime of dedication and hard work for the artists to make enough masterpieces for a retrospective like this one.

The retrospective is a reflection of moments ranging from joyous occasions to sombre affairs and shares stories about society, matriarchy, surrealism, traditional mythology, symbolism, and modernism, among others.

Born in Kathmandu, Upadhyay Grela spent most of her childhood in Bettiah, India. She graduated in Fine Arts from the Lucknow College of Arts and Crafts, Lucknow, India.

'My paintings are like my diary, which I experience throughout my entire life,' said the artist who 'captured a great deal of loneliness I experienced during my childhood while studying in India in my paintings'.

She elaborated, 'I used to draw perfect replicas when I was 10. I did not do well in my studies, but I was brilliant at painting, so I pursued life as an artist with the help of my family, especially my father.'

She held her first exhibition at the Nepal Academy of Fine Arts (NAFA), in 1978 with former prime minister late BP Koirala and renowned theatre personality late Bal Krishna Sama as chief guests.

As of now she has held 23 group exhibitions, 32 international exhibitions, and 71 solo exhibitions.

'Paint and brush have always been my sanctuary. As a 15-year-old, I stumbled upon its beauty serendipitously, and ever since I have been in love with it. As I grew, my work has also become a testament to my journey as it has evolved with time and passing phases of life. Although many paths were taken across varying stages of life, it is through colours and brush that I am able to express myself and record these moments as works of art.'

Upadhyay Grela has been a voice in the conversation surrounding social issues, women rights, injustice, and misfortune through artworks.

Facets of female identity

The artist has completed a long journey exploring the many facets of female identity within the frameworks of cultural heritage, tradition, and society and successfully crafted an important template for dialogue between generations. And the works on display at this retrospective have incorporated these works of hers.

The feminist theme seems prominent in her early works. She created a series of works on Kumari, the living Goddess (1988-2006).

Hesitant Femininity (1978- 1985) is a series of works that talks about inequality faced by women - here she has used powerful visuals to capture the challenges faced by women every day.

Incomplete Women IV (1981), based on linocut, for instance has several body parts of a human - such the eyes and legs - painted separately. They are not attached to one another. The painting's background is made up of hues of beige and dark yellow. The painting makes one feel incomplete because of the detached body parts and creates a feeling of sadness, confusion and fear.

Addressing change

This retrospective also serves as an insightful glimpse into the artist's holistic approach to art with its exploration of themes such as equality, time, technology, environment, religion, and politics.

From feminist themes, her works seem to have shifted direction and portrayed the changes that began to take shape in Nepal when monarchy ended and the country headed towards becoming a federal democratic republic.

The series Sound of Love (2005–2006) depicts message of love, belongingness, and friendship that is the symbol of unity.

People's Power (2006–2007) series attempts to portray the psychology of political leaders through artworks.

Gaijatra (2009–2010) is a series of political parody that targets Nepal's power-hungry leaders in particular.

The painting Divided Nepal (2009), based on acrylic on canvas, has an image of a cow divided into four parts, with its back connected to a white telephone.

Its legs are separated by a creature that is equal parts human and animal. The background of the painting is yellow. The artwork captures angst and anxiety of that time, from political uncertainty to economic inequality.

Time Wheel (2004–2007) is a series where clocks in various forms serve as a symbol of the transient nature of time.

Love in the Air (2008 -2009) series celebrates the freedom that is spreading as a result of increased technological use while yet showing a degree of respect to traditional beliefs.

The Nature Speaks (2011- 2019) series raises concerns about environment.

All about motherhood

Motherhood is one of the major themes the artist has depicted via her different artworks.

Motherhood (2016 to 2017) series is inspired by Upadhyay Grela's experience of her pregnancy in 1995 and the artist said she created it in the loving memory of her beloved late daughter Shivata.

The artist lost her daughter in Holland in 2016 at the age of 20 to meningitis.

And the works in the series Story of Ashes (2011–2019) depict the suffering Upadhyay Grela experienced after losing Shivata and then her mother six months later 'as my mother couldn't bear the tragedy (of the demise of my daughter)'. It completely changed Upadhyay Grela's world and 'dramatically altered my outlook on life'.

'Without painting and other forms of art, I would not have survived the pain of losing my daughter. For me, painting is a form of relief from pain. My daughter's diary served as the inspiration for the Ashes series.

Also, I started a foundation in her name, where I am looking after the education of 27 children,' she informed.

The artist's desire to connect with Shivata even after death led her to explore new creativity.

One of the results of such a desire was an acrylic on canvas painting Broken Wing of You and Me (2017). The painting is vibrant as bright hues of red, blue, white, and yellow are used. The red heart is placed on fire, and umbilical cord of a mother is tied to the child in the white-and-blue sky. This painting represents the artist's love for her daughter and seems to say that even though she is dead, Shivata is connected to Upadhyay Grela.

This painting serves as a reminder that love, even when lost to death, can never truly be extinguished and remains alive in our hearts.

Breast in Heaven (2019), an acrylic on canvas, meanwhile depicts breasts in the form of lotus petals symbolising a strong connection between a mother and her child which is sacred and full of love. The two pink and beige lotus flowers, where the umbilical cord that connects the baby with wings, illustrates an unbreakable bond between mother and child and establishes how deeply selfless a mother's love is. Emerald green makes up the background.

Talking about this artwork, the artist said, 'Motherhood is the most wonderful gift from God. I experienced a strong bond with my unborn child. The breasts become as delicate and gentle as a lotus during pregnancy. Each component of the body becomes a flowering lotus with a range of feelings and colours. The baby's link to the mother's uterus, vagina, and vulva produces an overwhelming softness and love-filled experience.'

Pandemic colours

After the COVID-19 pandemic, she initiated The Corona Tears (2020–2022) series. The artist recognised that the pain and suffering humans have inflicted on animals and nature is what led to the pandemic and 'the subsequent tears we wept as a result of it'.

One painting of this series is Corona Safety Love, 2020 (acrylic on canvas). A female body with the face of a rose in pink refuses the handshake from a male body with the face of a green plant wearing a white shirt and black pants.

This work draws parallels between physical distance when there was the threat of coronavirus and emotional disconnect in modern society amidst it all. The background is a pale shade of emerald green.

Being an artist Upadhyay Grela's earlier works are more concerned with mastering the technical aspects of drawing, whereas her later works are more freeform.

According to her, art reflects civilisation and captures its depth. An artist represents that civilisation of society.

She expressed, 'I've learned through my life that patience is the key to success and art is a form of meditation. As artworks mature through time, viewers become more emotionally invested in them.'

As she reflected on her career, she remarked, 'Being an artist is one of my greatest accomplishments since I have experienced a great deal of sadness. Anything that helped me get through my tragedy was art. Also, I considered being the first woman chancellor of NAFA from 2014 to 2018 to be the best achievement of my life.'

Sharing about her most memorable experience, she added, 'My most unforgettable moment in life was when I gave a speech to 800 students at a medical school in Boston, USA, last year about my life as an artist.'

Discussing the significance of this retrospective, she expressed, 'It depicts my 45-year journey as an artist to my public.

My beloved art collector will learn about my meticulous work. For me, it's a sentimental and flashback moment where I experience different highs and lows and reflect on how my work has changed through time.'

She continued, 'The retrospective will have an impact on women because there is a motherhood tale - there is pleasure where there is pain.

Women are creators and creation happens when there is suffering. And, education is essential to empower women.

Laxmi Goddess is present where Goddess Saraswati is.

When both are there, Shakti is present. Whatever your field of work, put extra effort into your education since independence leads to freedom. And I have proven to be a strong independent woman.'

Forces behind the retrospective

Sangeeta Thapa, Founder and Director of Siddhartha Art Gallery, that has organised the exhibition, said, 'I first met her (Upadhyay Grela) when she displayed her prints at the October Art Gallery at Hotel Vajra, Swoyambhu in the early 1980s. Her etchings and lithographs made a strong impression on me. Her early works were earthy and tumultuous, with sensuous feminine figures, Picasso-like Minotaur and monsters conjuring the enigmatic theatrical backdrop of her creation. In our parallel journey in the art world, I have been a part of Ragini's artistic journey not only through the exhibitions held at the Gallery and beyond but also as a friend.'

Thapa added, 'A prolific artist, Ragini had numerous solo exhibitions in Siddhartha Art Gallery, that include Sensitive Woman in 1999, Ragini's Odyssey in 2001, The Sun Never Dies, Samay Chakra, Buddha's Light and Truth Shines in 2005, and Love is in the Air in 2009.'

Pratima Thakali, curator of the retrospective, said, 'The retrospective is a milestone for an artist when gazing and reflecting back on a creative path. The artist's entire work is revived in the retrospective, serving as historical and temporal evidence that is significant not only for the artist but also for the history of the nation.

Women's Day was specifically chosen as a celebration because Nepal is a patriarchal society with a male-dominated culture. Also, her work speaks about a feminism that should be heard through artworks.'

'The artists go through different phases of life, but she has been non-stop during her 45-year-long career where she has given to a lot to society via social work, and is a significant figure in the art sector, therefore she absolutely deserves a retrospective,' Thakali added.

'Her career features a worth of drawings, paints, sketches, and paintings. She tirelessly addresses her sentiments, which are entitled to the narrations.

This (the exhibition) might mark a turning point in her artistic development because it allows viewers to experience immortality through her artwork.'

Meanwhile, Upadhyay Grela's guru Jai Krishna Agarwal, the former principal of Lucknow Art College, said, 'This entire show is Ragini autobiography.

I have known her closely for 45 years and every significant event in her life is clearly visible in anything she creates. Due to her high level of sensitivity and consequent social awareness, she is greatly influenced by her environment and is really expressive about it.'

A talk programme with Upadhyay Grela will be held on March 17 at Nepal Art Council and the retrospective is on till March 22.