Reconnecting Roots

Monolithic form taking centre stage, often using bright and multiple colours, layered with intricate patterns are some of the significant features of a typical work of Gond art. In an exclusive interview with Gond artist Bhajju Shyam, we rediscover this art form’s innate connection to nature and the artist’s own roots, deeply embedded within the different colours and textures of the earth

- Rahul Kumar

You began your artistic career as an assistant to the noted artist Jhangarh Shyam, also your paternal uncle. At what point did you develop your own language and how did that happen?

I fully credit my uncle for discovering the talent in me. As a child, he saw my drawings and encouraged me to do more. He would give me sheets of paper, coloring pencils and ask me to draw whatever I felt like. Soon I started accompanying him on his travels as his assistant. It was natural for me to mimic his style initially. I was listening to the same stories, using the same set of colors and was hugely influenced by his style. But again, it was he who guided me to develop my distinctive language. He would tell me to make my drawing but not copy his. That did not come easily to me, but I tried. I also had the distinct opportunity to interact with his collectors and scholars. This provided an additional layer in understanding how they appreciated the nuances of the works. Over the years my key differentiator became the way I added detailing and patterns in my paintings. My uncle used the technique of pointillism and I caught on to miniature strokes. Also, the way I approached a human figure, especially the head, was very different from how he drew the head in his works.

In your experience, how has the iconography of Gond art evolved from the application for domestic decoration to standalone paintings?

Yes, it is true that, traditionally, the women of the family decorated the house by painting on walls. We call it