Treibor Mawlong, an alumnus of Santiniketan whose woodcut prints have already created a buzz in the local as well as national art arena, is preparing for an exhibition in Switzerland next month.
Mawlong’s initial inspiration was no masterpiece by Michaelangelo, Van Gogh, Picasso or Monet. Rather, he was initiated in the art world and encouraged to explore the extent of his creativity by truck painters in Mairang where he grew up.
“Growing up in Mairang, I think the role model for any child who loves to paint and draw is the local truck painters. The heavily decorated/painted trucks are like moving exhibitions with subjects of popular taste. At one point of time, you imitate their styles of vivid colours and signature, sharp brush strokes. I was then 11-12 years of age,” the 31-year-old artiste said in an email interview.
Though the ostentatious designs flashed by the heavy vehicles on roads amazed Mawlong as a child, in the long run, he chose a much refined medium of woodcut.
Mawlong’s creations are rooted to Khasi tradition and depict his tribesmen’s daily life. The woodcut prints often tell stories of solitary characters, bold and convincing.
The carpenter (U Nongthaw Iing), the truck painter (nongdro trok), which is a tribute to the group of artists that piqued Mawlong’s interest in art, the charcoal seller (I nongdie rnga), the fruitseller (I kong die-soh) and the washerwoman (Ka nongsaitjaiñ) are some of the characters in the artist’s wood story. They strive through the odds of life and still hope to survive the darkness. The black and white of the woodcut print is as apt a medium to describe the achromatic existence as it is to retain the mystery in Mawlong’s tale.
“I like woodcut for its boldness. The characters in my works are mostly strong people in their own sense and I feel the black and white of a woodcut print can bring about this expression,” he explained when asked about his choice of medium.
Woodcut is part of the Department of Printmaking, from where Mawlong graduated. But the young artist feels art cannot be compartmentalised in departments and “all are free to express through any medium best suited for their objective”.
Mawlong completed his school education in Mairang and shifted to Shillong for high school. The turning point came after his higher secondary examinations in 2006. His performance was abysmal and “the idea of joining fine arts came to me from nowhere”.
“Throughout my school days I never thought I would join an art college because growing up in a rural area, I had no idea about the prospects and livelihood opportunities,” he said.
Mawlong, who is the eldest of seven siblings, cleared the selection test in Santiniketan in the same year. Talking about his interest in painting, the artist said though he could not recollect how he got initiated, he could remember the back pages of his exercise books in school filled with drawings and scribbling.
“My mom trusted me and accepted my decision. I’m thankful that I got the opportunity to take independent decision about my studies and this inspired me to work harder and give the best I could deliver,” said Mawlong, who has sent his works to several exhibitions across the country and will participate in the Fumetto Comics Festival in the Swiss city of Lucerne from April 6-14.
“As a young artist, believing yourself and the cause that you wish to express is important. One should make art or draw or paint on a regular basis even if it is just scribbles on a sketch diary and have fun in the process,” he added.
Mawlong’s stay in Santiniketan helped him have a prismatic view of the art world. “There, I was introduced to the larger scenario of art, the art pedagogy through learning art history, studio practice and becoming aware of the practising artists. Santiniketan was not a place where I went to study and get a degree. The place has a multicultural interaction which makes one aware of one’s identity with a sense of respect for others. I made many good friends there. The Santiniketan experience has contributed towards my personal development as an artist as well as a person,” he said about his experience at Bengal’s fine arts institute.
Mawlong — whose works are inspired by the people around him, the places he visits, illustrations in storybooks, comic strips and expressionist woodcut prints — teaches art education at DIET (District Institute of Education and Training), in Nongstoin. On Saturdays, he teaches in an art school run by a group, Meghalaya Fine Arts and Craft Society, run by of artists.
He is also working on a comic book, which will be a compilation of Khasi folklores. He started working on the project in 2013 and is looking for support to print his works. “I would love to explore the medium of comics to tell numerous stories through it,” he said about the new medium of work. One of his works, a comic strip called Blue Jackal, narrates a bitter experience that Mawlong had while travelling on a train during his college days.
“I am also fascinated by Indian art, especially folk art, the Mughal and Rajasthani miniature paintings, Japanese Ukiyo-e prints and Chinese landscapes for their narrative content,” he asserted.
Mawlong is encouraged and enthused by the strong participation of local art practitioners in various projects. However, he rues poor infrastructure and absence of a common platform for artists. “There is lack of exhibition space. Also, there are not many spaces for art discourse run by artists which, I feel, should be happening for active participation by artists. We can’t always depend on the government to make our ideas a reality.”
An art gallery is the state is the need of the hour so that local artists can showcase their talent. “Art displays in makeshift stalls take away the beauty and belie the artist’s hard work.”
Mawlong strongly feels that the media should be prolific in promoting art so that readers are aware of the works done locally and the process becomes interactive.
The young artist pointed out that “making art and making money out of art” are different things and one has to find ways to remain financially sound.
“There are a number of art-related job opportunities in cities outside our state. Again, here we are yet to see that opportunity. I believe it will change in the coming days. In Meghalaya, we need to develop a network of art marketing even if it has to start in a small scale. People think that only the rich buy artworks. I think this should not be the case anymore,” said Mawlong, adding that if high price is creating the gap between art aficionados from different economic backgrounds, then “we should find a bridge to change this”.
~ NM