Uttam Nepali

Uttam Nepali reformulates the images of Hindu deities in modern forms. His works are subjective, for he exploited lines, colours and images to express his personal feelings and imagination in response to the existing tradition and contemporary situation. Imagination and conscience play vital role in his works. The relationship between life and nature are evident. Philosophy and spiritualism are additional vigor for his creative initiation.

Uttam Nepali’s paintings synthesize modern art techniques with some aspects of traditional Nepali art. He has recreated images found on the tundals (wooden struts in temples) of Hindu temples. The compositions juxtapose celestial and mundane images. The artist exploits unconventional and altered colours and shapes. The union of male and female is the sexual symbolism of Tantric religions. The concept symbolized the act which created the world the eternal cycle of procreation without which nothing would exist. The whole world, from divine to mundane is held together by the union of male and female. The images lead toward the exploration of underlined conditions of world and our existence, in other words, in search of cosmic being. Thus, the presentation of sacred and profane images simultaneously is justified, for both of them are the integral parts of the cosmic being.

His attachment toward spiritual feeling has been depicted through his rhythmic and plural images of dancing Ganesha, the Hindu god who is considered to remove obstacles from the way that leads to success.

Some of his paintings have inter-art relationship, for he presents poems and other verbal texts, and visual images in the same canvas. The union of literature and visual art in his works appeal to the inner feelings of the viewers. He has sought to bring the cumulative experience of artists who use different mediums, from words to colours in his canvas.

The colour combination in his works creates movement, rhythm and musical effect. However, he has also executed some portraits, landscapes and still-life paintings.

Since some of his works of art deal about artist, art and the process of creation, they may be taken as meta-art. Rejecting duality between various elements, the artist reconciles heterogeneous images, concepts and techniques like poet and painter, vision and textuality, abstract and figural images, and western form and native contents. The artist attempts to open up new modes of inter-art discourse.

Exhibitions

25 Solo Exhibitions since 1962 to till date

26 Retrospective Solo Exhibitions-2004

Selected Shows:

2003 “Himalayan Expression 2003” organized by Siddhartha Art Gallery at the Habiart Gallery, New Delhi, India

2002 ‘Made in Janakpur – A Mithila Yatra’ 2002 Art Camp Organized by Siddhartha Art Gallery

1993 Contemporary Nepali Painting Exhibition, Birla Academy, Calcutta

1988 Bangladesh Biennale, Dhaka

1985 Nepali Painting Exhibition, Maneka Art Gallery, Sydney

1985 Asian Art Show, Organized on the occasion of Asian Games, Seoul

1985 Asian Art Show, Fukuoka

1981 Bangladesh Biennale, Dhaka

1981 India Triennial, New Delhi

1980 Asian Art Show, Fukuoka

1978 India Triennial, New Delhi

1975 Nepal Painting Exhibition, Museum of Oriental Art, Moscow

1971 India Triennial, New Delhi

1970 EXPO- Japan, Osaka

Awards

1998 Rastriya Prativa Purashkar, Ministry of Culture, Tourism and Civil Aviation, HMG

1974 First Prize, National Art Exhibition, Nepal Association of Fine Arts (NAFA)

Member

1995-99 Member, Royal Nepal Academy

1984-93 Member, Subject Committee, Painting and Sculpture, Tribhuvan University

1984-90 Founder President, Artists Society of Nepal

1978-80 Member, Board of Advisors, Nepal Association of Fine Arts (NAFA)

1973-77 Member, Painting Collection Committee, Birendra Art Gallery, Kathmandu

Life Member

Royal Nepal Academy

Countries Visited

India, Bangladesh, Thailand, Hong Kong, China, Japan and Russia (Former USSR), USA