Mohan’s Works have always been a joyous affirmation of Life and Nature.
His canvasses attempt to capture the Divine Artist at work in the first rays of the Sun, in the glimmer of moonlight on still waters, in the fragrance of a thousand blooms, in the sweet melody of birds as they sing the lyrics of the earth and above all in His supreme creation, Man, living in Harmony with Nature as he takes in the Blessing of its’ Bounty and Beauty.
In the ancient spiritual traditions, man was looked upon as part of nature, linked by indissoluble spiritual and psychological bonds to the elements around him.
Nature, or Earth, has never been considered a hostile element to be conquered or dominated. In fact, man is forbidden from exploiting nature. He is taught to live in harmony with it and recognize that divinity prevails in all elements, including plants and animals.
The oldest paintings known to mankind depict horses, rhinoceros, lions, buffaloes and humans hunting them. Since then, throughout the extensive history of art, themes of man and nature are amongst the most explored. This age-old relationship has been portrayed in many forms: from the early man's crude cave sketches, to renderings of nature as deified, admonished, revered, and feared--all in vivid mediums and from the finest masters.
However now, as mankind ravages his way through the 21st century diminishing the planet’s natural resources by 30% in the past 30 years, this most primeval of dramas looms into an environmental disaster--where man and nature are inexorably linked by their common fate of potential devastation.
In contrast to this and perhaps even as a message, the Men & Women on Mohan’s canvas live in complete harmony with nature. Here, the relationship between Man & Nature is one of Adaptation and Co-existence rather than of Mastery and Subjection.
His works exhort a reverence for life in all its’ forms of & are inspired by the holistic and poetic cosmic vision of the sacredness of all life, that humans are but one link in the symbiotic chain of life.
The simplicity of his lines lend a sublime aura of peace to his subjects derived from blending harmoniously with the beauty of their surroundings.
The aesthetically executed semi-nudes, Mohan’s first, show him delving deeper into matters of the Soul as they meditate on the Yin energies of Nurture and Nature. The play of colours vary from serene to brooding to rich reflecting their Inner State of Being.
The essence then of Mohan’s “Saamanjasya” lies in the verse of William Blake (1757 - 1827):
To see the World in a grain of sand,
And Heaven in a wild flower,
Hold Infinity in the palm of your hand,
And Eternity in an hour ..." William Blake
Born, 1960 in Ghodkem
Bachelor of Fine Arts, Goa College of Art Mumbai University, 1989