The present series of paintings titled, Devedevam unveil many reflections and incarnations of the singular/Universal-divine power. The artist establishes his unfaltering faith and belief on the 'supreme power' through his expressions which are stylistically rich and uniquely accentuated. He tells more about his artistic journey, "Creating and re assimUating the tales and fascinating aspects about the Indian Gods, is like a natural extension of my entity. With each work I discover something new about the vastness of the absolute strength. The anecdotes and nuances mentioned in our scriptures are innumerable arid never cease to enthral me. I read profusely about the Gods and yet every nowandthen I come across a completely new dimension about their attributes or their characteristics. There are so many details attached to these seamless allegories that one can keep on working on them and yet be able to cover only a small part from their sublime, unbounded realm. For me each work is like a form of worship, of the almighty. Just as Vishhusahasranaam contains thousand different names, ofthesameGod, my paintings are many reflections and depictions of the single divine strength."
Pramod's paintings emerge from his belief and devotion for the eternal shakti that gets transformed in Indian mythology into varied forms. He excels in unveiling the potential of the shakti in its subtle but surely all encompassing prowess. He works with a mature precision and every element and aspect of his rendering supports his dialogue. The figures emerge from the misty ambience in a picturesque manner. The 'Line' is sensitive and defines forms in varying intensities of thickness and rhythm. Texture grants the works a mature, granular and invigorating stance. The many layered surface imbibes an obvious trace of richness and luminescent grace. The layers merge into one another seamlessly changing hues and gradations. Textual scripts appear and get mixed into the vicinities of the space gracefully, as if representing the rhythm of varying pitch and resonance.
One of the paintings titled, Vishnuishwar, contains a portrait of the God, which gracefully reigns over the picture surface. The quiet stance emanates a meditative and tranquilising essence that originates from the eyes of the divine idol and gets dispersed into the surrounding space. The enlightened and holy ambience is enlivened with a thick play of coloured areas. These resemble the richness of a wall that has been painted and repainted a number of times to eventually retain a history of diversified movements, forms and textual references. The creatively weathered look enhances the archaic and age old appearance of the work. The overlapping of layers of colours symbolically refers to the thought that the tales of the Gods have been told and retold consistently from time immemorial. And yet the last, visible layer of the story told here by the artist on its surface looks fresh; as if it is being told for the first time.
