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AAAAAAAAAA Trishala's Dream by Namita Naren, London. Oil paint on etched metal
IMAGE OF A DREAM
Alison Kent examines the work of Namita Naren
and considers her unique personal technique
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AINTING ON METAL HAS GIVEN Namita Naren's work permanence,
which was first sought by the Jain community in the fifth century. At that time a serious famine threatened the continuity of the oral tradition but the motivation was there to preserve the sacred Jain scriptures. The solution was
to create palm-leaf folios, secured between wooden covers. Namita's tech- nique, using oil colours painted onto etched metal, echoes both the colours of their ancient predecessors and the traditional pictorial style.
Looking at how Namita's career has evolved towards her personal style, it is clear that her artistic heritage has been of great importance. Her father, Shri Rabindranath Dutt was a prominent artist who worked in the style of Bengali folk art. Not only was he a pioneer of the Child Art Movement in India, but he also inspired his own daughter to paint. "My father was painting and I wanted to paint along with him," Namita explains. To illustrate this early start, Namita has a painting she made at the age of three,
for which she was awarded a prize. Recognising his daughter's early talent. Shri Rabindranath Dutt had the foresight to frame her achievements. The small picture of a fish now hangs on the wall of her combined studio and living space, in Battersea, London,
Line, colour and form were her playthings; she grew up experimenting with drawing and design. Her formal training was in India, at the Sir J.J. Institute of Applied Art, Bombay, where she obtained a degree in Art and Interior Design. Here she met her future husband, Narendra Vaiude, the Professor with whom she trained. Since her graduation in 1972, she has exhibited consistently at an international level. Her work is highly acclaimed.
Namita Naren 36 Jain Spirit. June - August 2001 Jain Education International 2010_03
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