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In Commune ....

"Nature imparts to me universal ambience; it moves as a unifying force, to tear down all cultural and geographical barriers for me', says Yuriko Lochan. She believes that creativity is inspired by nature's mystery and the magic that is contained In Its immeasurable body. There is no special effort made by Yuriko to search for a theme that is external to her being. Her present works are but a result of her unique life experiences and her need to transform them into pictorial memories. The overwhelming presence of nature over the man-made cannot be missed, although she represents it in a variety of ways; sometimes as a backdrop for her fantasies, as decor or a settling for a mystical drama or heroic action to happen in. and yet at other times nature just as she is, in moods of enchantment. 

Yuriko substantiates the sublimity of nature in her tall and long frames. Inspired by Byobu, the Japanese pictorial format composed of multiple units, she effectively uses it for the representation of the cosmos as a moving breathing enigma, with its constantly shifting horizons. For the artist, the magnitude of Nature is ungraspable from a fixed point of view. She connects the disparate elements of each individual frame to cohere a holistic visual experience, that tries to accomodate the ever stretching limbs of Nature. Yuriko in fact pulls boundaries to make us sense the boundless.

But for her physiognomy, Yuriko Lochan is now an Indian-speaking fluently in Hindi, versed in Indian classical music and carrying the sari comfortably, she strengthens in my mind the notion of the capacity of humans to transform, and willingly at that too. Japanese by origin, with ail her formative years of growing up and studying art spent in Japan, Yuriko chose to marry an Indian artist, settle in India and explore the land, its culture, tastes and sensibilities, With India having become an extension of her life, a new setting as she stepped into womanhood, her art seems to synthesize aspects of her past and present life experiences. What is immensely appealing is the heightened sensitivity of the person, her enthusiasm to relate to her surroundings. She observes, focuses, sharpens her experiences, never to record but rather transform them in her work. In her painting, she blends her alertness in sensing, with her slow languorous action in creating, where the poetic vision takes over. She always tends to move from the empirical realm to a contemplative one, the objects that manifest are but of the mind rather than matter. 

Not using the easel tradition, she sits comfortably on the floor, the paper placed on o low, flat platform to work in an intimate manner, closer to the working surface to articulate details and superimpose delicate nuances of her colours. Her world is awakened by the fragrance of flowers, melodies of the birds and the playfulness of the animals and it Is this humble subjectivity of experience that is shared both by the Japanese and the Indians or better still that it runs in the Oriental vein. She celebrates the 'loss of self ' in nature. The little Alice is very much alive in Yuriko, filling her with the sense of awe and wonder wherever she is, absorbed in the immediate and yet transported by it. Yuriko enjoys the gift of wings, that take her to unknown landscapes through the flight of imagination. 

One sees her reconstructing her pictorial world -intuitively shifting, merging and superimposing to make the image correspond to her feeling. She reorients the earth and sky, trees and hills, even the waters, lifting the empirical curtain to unveil the latent. The clouds come down on the earth and the earth often rises to meet the cloudy sky. The overlappings of sea and land, suggest at times the earth floating on undulating waters. In a fantasy mood, even the self swimming in thoughts, floats through transparent waters to reach an ideal garden, apt for silent confession. The power and presence of faith and hope is often celebrated, At times, the Infinite, eternal and all pervading essences culminate in anthropomorphic form. 

Yuriko innovatively explores 1he improbable views of the world, circling Nature through a topsy turvy vision, bringing the stars down on earth and holding the lake in the sky. The frees stand upside down, looking at the man-made from above, losing their natural size and scale being in the sky Most of the works on their upper and lower most boundaries continue the same element for example the lotuses in the lower corner suggest the lake below that continues in the sky above or sky, importing a sense of never ending rhythm. The ascending and descending forces of Nature unscroll to provide visual movement and vitality to images.

Stylistically, she meticulously uses traditional tools to rephrase her personal experiences pictorially. She revels in the Indian miniature       elements and the Japanese textural brushwork for their visual appeal and suggestive power. In fact, she happily makes space for the co-existence of intricate details with broad, heavy brushwork. At times, the pictorial takes over oil other concerns. One witnesses self illuminating nature in the shape of ornamentalised trees and foliage, emphasized by golden outlines and decorative masses. The long, lonely paths connect the close and the distant, creating a rhythmic pattern of stylised motifs through linearity and luminosity Bright, evocative colours fill spaces not merely to arouse a moody temperament but accommodate human longings and seekings. 

As I see it, art to Yuriko is not Imitation of life, but an anticipation of it, In Yuriko's art, an expansion outward into visual space, is simultaneously a jouney into 'self.

Roobina Karode
(Art Critic)

   
Copyright 2007
Copyright 2007, Yuriko Lochan    |    Site by: Cross Section