The deserted terrain of Hampi, replete with architectural ruins, made for an interesting yet static sight for K Muralidharan. Soon enough, the artist — a stalwart of the Madras Art Movement — could see figurines, running around the barren lands, peeping in and out of the ruins, clad in bright colours and emanating joy. A pink-coloured Ganesha was one among the figurines. This experience, where Hampi came alive in his imagination, was the first ever incident that led to an illustrious career as a figurative artist. “I believe in telling stories,” Muralidharan says, as we walk around, discussing his works displayed in Forum Art Gallery.

Today, in Rites of Passage, his first solo show after a break of nearly 10 years, the vibrance of his subjects seems not to have waned. As I walk into the gallery, strong hues of blue strike me from the farther end of the hall. A golden deer, with its distinct and sharp facial features — geometrically enhanced — invites me in with its strong visual language, thousand other elements in tow. Another crowded canvas too catches my attention; its overwhelmingly strong colours directing me to the next almost immediately.

Rites of Passage attempts to redefine the past through the artist’s eyes. “You rewind your past, take something from that, and realise that it doesn’t have the same feeling. I see it in the context of the present,” says the artist. He directs me to the image of Vani, (Goddess Saraswati), clad in a combination of lime yellows and fluorescent greens, with checked and striped patterns that suggest that she is a modern-day woman with a completely different, possibly radical, outlook. Set against a blue backdrop with various elements and motifs from Hindu traditional legends and myths, the figure sports bold facial features.

Beside her is Sita, wearing what I imagine is a kurti, as a golden deer looms above her head in the canvas.

Creative process

“Every time I add another work to this series, a new element comes to the fore unconsciously,” says the artist, who effortlessly marries mythology with the contemporary ways of life. Fantasy too, he believes, goes hand-in-hand with mythology. The colour scheme, attempts to break away from the Indian shades that draw from earthy colours, to venture into pop art which uses unconventional colours.

Growing up listening to stories that his family discussed, instigated this urge to explore mythology, says Muralidharan. Mythology essentially draws one to aspects that make a temple — of which inscriptions play a major role. This explains the Tamil words, the different names of Goddesses, that can be seen among other components on canvas.

“The figurines’ facial aspects are that of a puppet’s — bold and striking, fashionable. In them, I see all women,” says the artist, adding that the inclusion of animals (elephants can be seen aplenty), God-like figures, and characters pertinent to Hindu mythology, is an attempt to amplify the deep-rootedness of tradition. Though entrenched in mythology, Muralidharan’s works do not foster any religious tones. As he explains, a dark-complexioned Krishna catches my eye, with a flute in his hand. The blue background is redundant with tribal motifs and stick figures. “Krishna for everyone else, is a great lover and warrior. For me, he could have been a tribal. This was my focal point,” says Muralidharan.

Over three decades, Muralidharan’s works have travelled through varied styles, and interpretations. He strongly advocates the evolution of all creative forms. “My myth is my own language,” he says, adding, “Every time I work, something new gets invariably added. In my current works, you might not see what I did 20 years back. Change has to happen.”

Madras is dear to him, despite the fact that he has travelled across the country and abroad pursuing his work. “This city has always been inspiring,” says the artist, who completed his degree from Government College of Fine Arts in 1978.

“In Chennai, what is missing is the exposure, in comparison to other cities. Artists also don’t know how to market themselves despite doing brilliant work,” says Muralidharan, recalling that in the 70s and 80s, there were only a couple of galleries in Chennai, which significantly limited young artists like him. Strokes of luck, in the form of scholarships, took him places. And 30 years later, his work, which is in tune with the contemporary world, continues to remain unique. “At the inauguration, someone asked me what I would do after five years. I really have no idea. I might even try abstract, who knows?” laughs the artist.

Rites of Passage is on display at Forum Art Gallery, Adyar until December 31.