Mamta Chitnis Sen shares with LFF about working as a journalist, her work focusing on the changing rural landscape of India, her exhibition currently on display at Kolkata’s Indian Council for Cultural Relations, feminism and more…
Where are you from? How did you get into creative work and what is your impetus for creating?
I am originally from Mumbai, India and have been a working journalist for most part of my life, writing and covering various political and social events across the country. Although I have been attracted to art since childhood it was only in 2011 that I got myself enrolled into Sir J J School of Art to understand the various nuances of painting and formally began unleashing my creativity on canvas. My works are mostly in oils and acrylics on canvas (using a palette knife) and revolve around documenting the lives of people based in rural India and their slow and disappearing identities. I have exhibited in various groups shows in India and recently in France as well.
My paintings are concentrated on the changing rural landscape in India. The works are inspired by women farmers from the region of Sawantwadi, a former princely state in Maharashtra, India—where my ancestral home is based. These paintings depict women farmers (of all ages and stages in life—single, married, ageing) attending to their daily chores in life in the fields– either alone or with companions, or in conversations with each other with the lush green fields forming the backdrop for their activity. The blank faces of these women in the paintings are a symbol of how women farmers in India are devoid of their own voice and identity and how they continue to remain merely a minority, neglected and ignored. The paintings highlight the plight of these women and their circumstances.I have been a journalist and the works are mostly based on my experience of having travelled to these regions and my observation of the same. I have worked with The Sunday Guardian, Mid Day, Society magazine, Sunday Observor and recently headed Dignity Dialogue, one of India’s foremost national magazines exclusively for the 50 plus age group as its Executive Editor. I am presently handling Media Advocacy for Child Rights and You (CRY)—an organization working for the protection of rights of underprivileged children.
Tell me about your current/upcoming show/exhibit/book/project and why it’s important to you. What do you hope people get out of your work?
My upcoming show is focused expanding the issue of marriage and the role of the woman in it. The works ‘Silent Brides’ are mostly concentrated on rural women specially from tribal communities in India where women irrespective of age has no say in the choice of her partner—the decision is merely taken as a means to survive just another day devoid of poverty.The first phase of my work is currently on display at Kolkata’s Indian Council for Cultural Relations. I hope to exhibit the entire show at the end of 2016.I believe people get the message that while on one hand women are fighting to empower themselves in all means possible, on the other hand there is a section of society which are struggling to reach this understanding. My paintings of women devoid of any facial features are juxtaposed with the landscapes they work in have been appreciated for their unique style by most and the feedback has been overwhelming. I am proud to say that a few of my works are now in private collections in countries such as South Africa, France and Morocco.
Does collaboration play a role in your work—whether with your community, artists or others? How so and how does this impact your work?
Yes to some extent my travels to see these communities has in fact impacted my work and in my own way I have attempted to highlight their plight which has been very well received in the media as well.
Mamta Chitnis Sen: Off To Work
Do you think your city is a good place for women in art/writing/etc? What do you think is the best thing about your city for artists, and how might it be improved?
Yes Mumbai is definitely the best place for women to feel motivated to take up art or writing. The city has been the breeding ground for many internationally celebrated artists since the early sixties and has the best of art galleries. The best thing about the city for artists is that it provides a bigger platform for artists irrespective whether they are beginners or established ones.
Mamta Chitnis Sen: Silent Bride
Artist Wanda Ewing, who curated and titled the original LFF exhibit, examined the perspective of femininity and race in her work, and spoke positively of feminism, saying “yes, it is still relevant” to have exhibits and forums for women in art; does feminism play a role in your work?
Yes it surely does. Feminism is a very important aspect of my work. My works are largely based on women farmers and how migration by their husbands/fathers has largely affected their social status and condition. This again due to my personal experience with them and having observed that although women can be landowners in absence of their male counterparts they are yet not been given the chances to make their own decisions in terms of the lands that they control.
Mamta Chitnis Sen: Fisherwoman
Ewing’s advice to aspiring artists was “you’ve got to develop the skill of when to listen and when not to;” and “Leave. Gain perspective.” What is your favorite advice you have received or given?
The favourite advice which I have received and in return give to others is, “Do not hesitate in believing in yourself and seek who you are. You may be surprised at what you are capable of!”
Les Femmes Folles is a volunteer organization founded in 2011 with the mission to support and promote women in all forms, styles and levels of art from around the world with the online journal, print annuals, exhibitions and events; originally inspired by artist Wanda Ewing and her curated exhibit by the name Les Femmes Folles (Wild Women). LFF was created and is curated by Sally Deskins. LFF Books is a micro-feminist press that publishes 1-2 books per year by the creators of Les Femmes Folles including the award-winning Intimates & Fools (Laura Madeline Wiseman, 2014) and The Hunger of the Cheeky Sisters: Ten Tales (Laura Madeline Wiseman/Lauren Rinaldi, 2015). Other titles include Les Femmes Folles: The Women 2011, 2012, 2013, and 2014available on blurb.com, including art, poetry and interview excerpts from women artists.
Mamta Chitnis Sen from Mumbai is showcasing her second series of paintings based on the women of Sawantwadi in the picturesque and idyllic 11th century castle – Chateau de Bressuire, France
On special invitation of Mr Jean-Michel Bernier, Mayor of Bressuire, France and Ms Valerie Won Lee, President and Founder of World Citizen Artists, Paris – Mamta Chitnis Sen from Mumbai is showcasing her second series of paintings based on the women of Sawantwadi in the picturesque and idyllic 11th century castle – Chateau de Bressuire, located in the town of Bressuire in the Deux-Sevres department of France. The exhibition is till August 30.
The exhibition (curated by Ms Naoil Chekraoui) was inaugurated by Mr Jean-Michel Bernier, Mayor of Bressuire, France, Ms Dominique Lenne, Chargee de Affaires, Culturelles and Mr Philippe Robin, Vice-President de L’Agglo2B. The castle was founded at the turn of 10th and 11th century by the Beaumont family and played a key role in the battles in Poitou between the kings of England and France over three centuries.
The venue was the perfect backdrop for the paintings– Women in Fields—is second in the series inspired by women farmers from the region of Sawantwadi—a former princely state in Maharashtra, India. The paintings depict women farmers (of all ages and stages in life—single, married, ageing) attending to their daily chores in life in the fields– either alone or with companions, or in conversations with each other with the lush green fields forming the backdrop for their activity.
The blank faces of these women in the paintings are a symbol of how women farmers in India are devoid of their own voice and identity and how they continue to remain merely a minority, neglected and ignored.
The exhibition was very well received by people of Bressuire and art lovers from France who identified closely with the subject of women farmers and their empowerment. Many believed, that the wives and daughters of farmers not only in India but across the world continue to face the same plight despite growing urbanization and development in education and other fields.
Mamta Chitnis Sen uses her skills as a journalist with a painter’s
keen observation to highlight contemporary issues affecting society.
by The Editors | editor@themetrognome.in
Mamta Chitnis Sen is one of a growing tribe of Mumbai’s talented
multitaskers – she is a journalist by day and a painter by night, and
she travels the country extensively working on both her journalistic
assignments and such art-related tasks as restoration of colonial
buildings and documenting their history. She recently had a showing of
her works describing Sawantwadi’s women-in-waiting, which opened to a
very good response and brought many accolades for her.
In a chat with The Metrognome, Mamta talks about how
she started dabbling with art, her inspirations, how she makes time for
her pursuits, and what’s next. Excerpts from the interview: You have had a long career in news reporting and feature journalism. When did you decide to dabble in art as well?
I
have always been inclined towards art since childhood. In fact, in the
course of working with several publications, I even penned several
articles related to art and artists but it was only in the year 2008
during my stint with a political party as its office bearer that I had
an opportunity to organise an art exhibition. The motive was to connect
the common grassroots worker to the elite art circuit and bridge the gap
between the two.
Have you ever watched a political rally? It is so colourful and
vibrant, just like a canvas littered with colours and shades of all
hues. Similarly, the banners and posters which are on display during
election campaigns also speak a language of their own.
My hunt for artists to duplicate any form of social issue on canvas
ended up blank since I discovered that a majority of artists were more
interested in painting safe subjects such as that related to
spirituality, meditation etc., than paint on any socio-political issues.
Finally in 2010, after running around in circles, I decided to learn
art formally and paint what I thought. So I joined the Sir JJ School of
Fine Art to study paintings and drawing and since then it has been a
great journey. How do you balance your journalism career with your artistic pursuits?
Journalism surely does take a lot of my time (she is currently Executive Editor of Dignity Dialogue and has worked with Mid Day, The Sunday Guardian, Society, and Sunday Observer) but
it is what I enjoy, I love being a journalist. Similarly, I also love
painting and manage to devote my 100 per cent to both. I never
compromise on any of the two. I believe that if you love doing
something, you can always find time for it, whatever the circumstances.
While I work on my journalism assignments during the day, I paint at
night – mostly post midnight, till the wee hours of dawn. This is the
time when the phone doesn’t ring, and since everyone is in deep slumber,
there is silence around and in silence one can think and paint at ease. Tell us about the art collective you founded. How did this come about?
It’s called ‘Canvas Clan- A congregation of artists from all walks of life’ andwasfirst founded along with students of the Art Class (Hobby) of Sir JJ School of Art, Mumbai in 2010. The idea was conceptualised
during a class field painting trip to Khandala. It initially
kick-started with an exhibition of art works with 22 students from
various age groups and different professional backgrounds, namely
furniture designers, software engineers, writers, entrepreneurs, etc. It
was aimed at being a guiding force of light to encourage art lovers and
art practitioners to seek academic excellence in understanding and
promotion of art through art workshops, art studies and public
exhibitions.
I must say that also it was because of the efforts of the Dean of Sir
JJ School of Art, Prof Vishwanath Sable who encouraged us that the
collective came into existence. ‘Canvas Clan’ also played a key role in
exhibiting unique works in celebration of the Centenary Year
celebrations of Bihar State in the year 2011, and was invited to
showcase works that highlighted the confluence of past and present
progress of Bihar through a series of paintings. What are the other initiatives in art that you are currently involved in?
I am currently involved in documenting and researching history of JJ
School of Art and its allied branches pre- and post-1857, when the
Institute was first founded. The first part of my study was the
existence of a state-of-the art Pottery Department at the Institute’s
campus grounds constructed by the British. The building used to house
ceramic samples from European countries, traces of which are still found
at the Dean’s bungalow within the campus. Between 1873 and 1875, the
Pottery Department grew to such fame and glory, that it even threatened
the sales of the famed Wedgewood Company in London. The building was
later torn down in 1926 following the terrible plague which led to the
decline of pottery students frequenting the campus premises, affecting
the production and sale of ceramic products.
I also collect artefacts which most people throw away. Another art
project which I am working on is beautification of the Rajbaris
(palaces) located in interiors of West Bengal. Most of these Rajbaris
and the mansions surrounding them are hundreds of years old and either
in derelict condition, abandoned or neglected. I helped in the
beautification of the house of the late Ishaan Chandra Sen, the zamindar
of Guptipara in November last year. The beautification was done with
involvement of children belonging to the families. This initiative was
aimed more to give them a sense of belonging of their roots and identify
them with their past and culture.
Apart from this, I am also involved as a Social Network Officer for
World Citizen Artists (a forum of international artists, musicians and
writers founded in Paris in 2013). WCA works to address social issues
across the globe through art and creativity. Can you describe the process of putting up your first exhibition? What are the costs involved in putting up an exhibition?
My first exhibition was at Main Hall, at Sir JJ School of Art. Though
we were saved from the cost of footing the price of the venue, we had
to pool in money for framing, banners, food for guests etc. But ideally
the cost to set up an exhibition is almost Rs 1,00,000 and upwards in
Mumbai, which includes rent, framing, catalogue printing, publicity
material etc. How many exhibitions have you had so far? Where?
I have participated in seven exhibitions so far, five in Mumbai, and one in Hyderabad, and Kolkata. What has been the most interesting/thought provoking moment in your journey as an artist?
There have been several and it is difficult to pin point any one. But
the most interesting moment was when someone actually bought three of
my works together in one go! What are your future plans?
I want to set up my own artists and writers’ residency some day. The
residency would not only provide space to those from the unorganised
sector (especially women) to unleash their creative side, but also help
them in seeking an alternative career in art. A word of advice you would give to artistes just starting out to explore their creativity?
Do not hesitate in believing in yourself. Seek who you are. You may be surprised at what you are capable of!
Mamta Chitnis Sen’s works address the theme of women left behind to look after family lands in Sawantwadi’s farming regions.
by The Editors | editor@themetrognome.in
This is one exhibition you simply must attend – it comprises some
lovely paintings, with a very sensitive theme titled ‘The Wait’.
Mumbai-based journalist, writer and artist Mamta Chitnis Sen has put
together ‘The Wait’, a collection of her original paintings rooted in
Sawantwadi, a former princely state and part of the Konkan belt of
western coast of Maharashtra. Sawantwadi has the highest numbers of
farmers who have abandoned their lands and are working as migrants in
neighbouring cities. The women and children left behind by their
husbands end up as mere ‘protectors’ of the lands they once toiled in.
The lands often are sold off or abandoned, empty and deserted.
The works, acrylics of canvas, highlight the plight of these women and their circumstances.
Born and brought up in Mumbai, the subjects of Mamta Chitnis Sen’s
works are concentrated on rural Maharashtra. A journalist and an
extensive traveller, Mamta, an alumni of Sir JJ School of Art has been
instrumental in creating paintings in oils and acrylics documenting the
slow yet disappearing lives and identity of people, especially women
living in rural India.
A palette knife artist, Mamta aims to showcase the rustic rural
landscape of interior India, specially Maharashtra and Bengal through
her works, which is losing itself to the ills of urbanisation.
Speaking to The Metrognome, Mamta says, “It took be
nearly three years to research this subject and I actually began
painting work related to it in 2013. This is the first of my Sawantwadi
series.
I first noticed the subject of women merely ending up as caretakers
of their own lands during my travels to interiors of Maharashtra (while
reporting for my newspaper), specially the Konkan belt. I saw that in
key areas of Konkan beyond Ratnagiri and Sawantwadi (which is my native
place) the second generation of farmers are opting out of farming. In
Sawantwadi, a large numbers of horticulture farmers preferred desk jobs
in ‘large companies’ than compared to taking up farming which they
believed was a tedious affair.”
She adds that unseasonal rains, too, was another reason for their
growing disinterest. “Most traditional farming families including
newly-married young sons in their late 20s, who were hence looking
for alternate revenues of income. The escalating price of lands in the
region was yet another reason for this switch. Many second generation
families in hope of easy money were either selling off their ancestral
property or keeping them on hold hoping to get more money for it.”
Hence while the men travel to cities, the women who are left behind
with their kids to either toil on some part of the land to avail of
Government benefits or merely as caretakers.
Most women in rural areas, despite being educated up to primary
level, are devoid of any other skills or education on how to convert use
the empty land to their benefit. “Further, many local builders often
swindle them of their share while the men are away,” she says. The exhibition is on at Mumbai Art By Artists, Prince of Wales Museum, Coomarswamy Hall, Colaba, from January 23 to 25, 2015 between 11 am and 6 pm. Entry is free.
Children have always ended up the foremost victims of cross border terrorism and war to engulf nations across the globe, the recent violence on the Gaza strip notwithstanding.”
While children lose their families and homes due to conflict, the poverty that follows the violence eventually leads to thousands of children ending up orphans, often being forced to seek survival in lands where caste, creed, and colour dominate societal divisions. Their innocent minds succumb to the above diktats, eventually forfeiting childhood. The displacement of children through border conflict needs to be addressed on humanitarian grounds by one and all.
Displaced: Children in No Mans’ Land is an effort to highlight this vulnerability. A nude boy looks across a vast expanse of rich green fields trying to find a meaningful relationship, and a conversation with a lone scarecrow in war stricken territory brings forth the innocence of the mind of the child (despite the bleak surroundings) while he continues to explore hope and acceptance.
Like the scarecrow that stands guard over an empty field, the orphan boy too wants to survey the fields as his own; he wants to be a farmer with the sole intention of seeking solace on the empty patch of land calling it his very own home someday.
