Tapan Moharana was born in 1989 in, Badanuagan village, Balasore, Odisha. He did BFA (2011) and MFA (2013) degrees in Sculpture from Rabindra Bharati University, Kolkata. Currently, he lives and works in New Delhi. Tapan’s current artistic practice explores questions of land, displacement, and the politics of ecology. Whenever possible, he tries to engage and work in collaboration with communities deeply affected by the adverse effects of ecology or the nature-culture divide, through gender, class, and caste. His practices are influenced and developed through the amalgamation of various local and indigenous art forms such as shadow drama and Shadow Theater in his neighborhood.
SP: Your work explores and questions the notion of land, displacement, and the politics of ecology. How do your works in Shared Spaces and Lighted Cave reflect this theme?
TM: The Lighted Cave was a complex meditation on the politics of ecology, land, and displacement. The concept has its roots in my pandemic-induced return from my studio in New Delhi to my native place in Odisha, where I began to reconnect with various folk traditions. Lighted Cave was an interactive installation displayed in front of viewers, allowing them to become part of the story. Like: Rabana Chaya, which comments on the good and bad in human nature through a retelling of the life of Ravana (the king of Lanka and Rama’s main rival in the Ramayana). The shadow reflected by the puppets in this work represents one’s own shadow. Becomes a commentary on the dark side of our shared history, both in the personal and broader social context and in the context of poverty and race-based inequalities.
SP: How do you balance the technical aspects of creating a sculpture with the conceptual and artistic ideas you want to convey in your Artwork?
TM: When I think of shadow as a medium, it provides me a space to share my interpretations and understanding of the current cultural and political landscape in India. In my work process, I am using light as a medium to focus on the history and current affairs and events that bind us together as a society – on the other hand, there is the shadow, which represents our shared… There are often invisible and dark sides to life: division, poverty, Hindu nationalism, and the still-existing caste system, which render entire sections of society invisible. I try to reconnect with various folk traditions by using objects, leather silhouettes, etc. as a means of storytelling to express my ideas.
SP: Given that your work frequently challenges the traditional gallery setting, what strategies or thoughts do you have regarding the sustainability and longevity of your art outside the “white cube” environment?
TM: My work evolves through a combination of different forms of art, such as drawing and shadow puppetry, painting, and interactive sculptural installation, and I also I do performative street art. As for the sustainability of my works, white cubes and gallery setups are not only the way to go, but I also prefer to organize my works in both simple public and abandoned spaces for art exhibitions and other interventions. I prefer all types of spaces for artistic interaction, as there are challenges in communicating to an audience through space. This helps me progress as an artist.
SP: Many artists use their work as a medium for social or political commentary. Do your artworks like Lighted Cave at the Indian Art Fair convey any particular messages or reflect on contemporary issues?
TM: It is really important to use work as a medium for social and political commentary. I also believe art is to be simple and innovative, to inform and engage viewers in their concern for social, political, and environmental issues. Through my practice, I wish to raise such awareness and concern. The work: Lighted Cave is an idea inspired by the local artists from Ravanachhaya shadow puppetry and the history of shadow theater practices from Odisha. The work “Lighted Cave” was an interactive random, shadow play in which the audience can participate and so becomes part of the story. Like the Ravanachhaya, this comments on the good and evil in human nature through a retelling of the mythology. In the play, the shadow is a character of its own. It has the metaphorical quality of the shadow that motivates and influences us to see how we deal with our dark sides, away from light, the shadows of our society.
SP: Your art frequently incorporates elements of traditional Indian art and culture. How do you navigate the fine line between preserving these traditions and infusing your unique artistic expression into your work?
TM: Are there specific cultural elements that inspire you most? I grew up with stories of my grandfather’s work. He was a temple carver. I have not seen him, but my grandmother used to tell me stories about his long trips to different places in Odisha for temple construction. Like my family history, the stories influenced me and inspired me to follow the path of my ancestors. I have a personal feeling towards old temples and related folk traditions especially in Odisha and historically temples were the only source of traditional arts along with other folk arts. I am interested in reinterpreting those cultures and styles to find new meanings through my works because I am the present generation of that wonderful past.
SP: Your art can be described as a fusion of traditional and contemporary styles. How do you see the evolution of Indian art in the global context, and where do you see your place in that evolution?
TM: Indian art has a rich and diverse history spanning thousands of years, with a wide range of traditional styles and techniques. In recent decades, I have observed that Indian art has undergone significant changes due to globalization, urbanization, and the influence of contemporary art movements around the world. Apart from this, it is also important to see that the philosophy of Indian art has its own identity in the global art scene. So I try to understand how I should contribute an art style that can express the richness of my own culture and land. My recent practice has been influenced and developed from the amalgamation of various ancient and indigenous art forms, such as shadow puppetry and shadow theater practices in my neighborhood. As I proceed with this method of art practice, I hope that this process will introduce me to a landscape of cultural diversity.
Find out more about the artist and his artworks:
