October 26th to January 16th 2015

"Nature & Eternity - II"

  • By Pramila Bajracharya
  • artist
    Pramila Bajracharya

    About Artist Profile

    Morning shows the day, Pramila Bajracharya used to draw sketches and figures from the early childhood at the backs of books and copies unknown to her that would serve as the pillar for her to become an artist later on.

    Once she knew one could study Fine Arts as majors and she joined arts college after completing her I.Com, there’s no turning back for Mrs. Bajracharya as an artist.
    Back page drawing would unknowingly serve as the base for Pramila Bajracharya to become an artist, which became only sharper after she joined arts college and since then, there’s no turning back.
    After some minor hiccups she faced when she fully delved into arts form her family, only the initial hurdles were to be evaporated when her journey turned out to be promising. She’s enormously thankful towards her father who made her artistic ride without any bumps. Also, she fondly remembers her professor Shashi Shah, whose remarkable feedback she recalls vividly even to this date and she admires his work vehemently. After finishing her BFA and as a co-founder of Kasthamandap Art Studio, she fondly recalls her exhibition in US where her work was greatly appreciated and also was commercially successful than anticipated. Moreover, she’d participated in many solo and group exhibitions in various countries and has traveled extensively. Earlier, much of her works was focused in Figures, which gradually changed to Landscapes much inspired by where she resides and Jyapunis, an indigenous women from Newar community of Kathmandu valley by their attractiv e attires, rituals, musical instruments and bright colors. Today, we can see a blend of all these, and landscapes in abstract and semi-abstract form. And her visit to Bangladesh have seen to have a profound impact on her, which can be equally seen in her paintings as well.
    She completed her MFA from TU, Nepal, as a first batch student; she regards upcoming generation of Nepali artists to be very promising and full of potential who can reduce the gulf between the western and Nepali counterparts. She recommends aspiring artists to be fully dedicated and work hard in order to attain success in the field.

    About Exhibition

    Nature and Eternity, Pramila Bajracharya’s acclaimed opus was conceived in 2004 and this time not less than 30 paintings under the same title has been showcased in the Park Gallery once again in its third quarterly exhibition with different archetype collection of Figures (Jyapunis, Bengali women) and Landscapes, albeit in abstract and semi-abstract form.

    Rich colors like black and red are predominant in her paintings, among others like in Jyapuni series where they can be seen in various moods, like one where an elderly woman is seen to be contemplating, the other one where they’re dancing, the next has got the musical instruments of the Newari culture besides them and so on. Her works are highly influenced by her ethnic Newari background and the vicinity of her neighborhood.
    Moreover, we can feel that her recent visit to Bangladesh in SAARC Art Camp has been very galvanizing and has touched the artist profoundly. It can be seen in her paintings as well. She recalls it very pleasantly and likens the resemblance with some ethnic communities back at home. We therefore find these paintings as the re-collection of her memories from Bangladesh. For instance, she has portrayed four buoyant women dancing in their local costumes in one and the two women dancing along with colorful masks at the backdrop in another painting. These paintings provide a glimpse about the people, culture and traditions of the place.
    In the Landscapes, we can see the alleys and gallis of the Kathmandu valley been accentuated, especially of the Newar community. These paintings stand rejuvenated to be once again stirred with her colors and restored for eternity; the area surrounding her residence in Sundhara, Lalitpur. However, these are primarily done in abstract and semi-abstract appearance so couldn’t be discerned as easily as other paintings.