Mysticism, Metaphors & The Man...
SOCIETY|April 2018

Former actor and now an established artist, Viveek Sharma shares his love affair with art in a freewheeling conversation

Arwa Janjali
Mysticism, Metaphors & The Man...

His is a familiar face, thanks to his acting stint in Bollywood. But what Viveek Sharma has really garnered an applause for, are the faces he creates on canvas. Right from being a sketch artist for the police force to becoming an artist par excellence, Viveek has carved a niche for himself globally.

His latest exhibition ‘Silence, Please!’ portrays silence and stillness with Mumbai’s noise as the backdrop. And he shows this through portraits of India’s Sadhus, referred to as ‘the silent ones’ in ancient Vedic verses. His recent collection of artworks have been travelling the length and breadth of the country, finding admirers in Sonia Gandhi, Smriti Irani and Shobhaa De to name a few.

Take a sneak peek into Viveek’s world of canvas and colour, as he speaks to Society about his artistic journey and work at large.

Your recent works are absolutely spellbinding. Congratulations! It’s a very interesting portrayal of finding silence in the chaos. But although there is a definite meditative quality to the paintings, there is also a glimpse of angst and a disturbing attribute that is palpable in the facial expressions of a few portraits. Was this feature a deliberate attempt? If yes, what was your thought process behind it and what was it that you wanted to convey?

I find my inspiration in human subjects, everyday life… It’s complexities and emotions. So yes, the intensity in the portrayal of my subjects is intentional. Human beings are multidimensional and I try to represent the fullness of an image. Layer by layer, I wish to capture emotion, thought, wisdom, concealment, revelation, desire, faith, hope and surrender. The combination of technique and elements provides the atmosphere for each painting and draws one into the subject.

This story is from the April 2018 edition of SOCIETY.

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This story is from the April 2018 edition of SOCIETY.

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