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ADAM SWART
Kumari Lakshan: Layers of Purity
December 10th-December 14th, 2010
Statement of an Artist
It is my hope that the 16 paintings presented in this exhibition speak for themselves; that each one tells a story layered with history, beauty, power, and honesty. It is my hope that these small canvas boards sing out loud with bold color, dynamic compositions, and a sense of raw purity and emotion.
This series of paintings was inspired by the rich, complex, and layered tradition of the Kumaris of the Kathmandu Valley. The visual presence of the Kumari is awe-inspiring and I hope that I have captured some of that power in this series of paintings. I have relied heavily on the colors often associated with Kumari: red, yellow, and gold; I have often referenced aspects of the Kumari’s visual identity, such as her tika and aankha ko kosh; I have incorporated elements such as chura and tika that are commonly associated with beauty and feminine identity.
But these paintings are about more than just beauty and feminine identity. For me, the Kumari is the embodiment of purity and perfection, plain and simple. The Kumari is the most profound representation of the idea that divine energy exists not in some external context, but within the human being. And divine energy, like anything else, is in its purest form when it is untainted and unspoiled; in other words, when it is in the form of a child and, in particular, in the form of a young girl.
I believe that children, and especially girls, are the purest beings and embody the highest form of divinity. Every child is a god, full of potential and promise. The Kumari is the visual and institutional manifestation of this concept. These paintings, therefore, are not merely celebrations of the purity and perfections of the Kumari alone, but rather they celebrate the innocence, purity, and divine energy in all children.
Purity is, however, a fragile state, one that is subject to contamination. From where does this contamination come? It comes from the outside. Outside forces often act from selfish motivations with no mind or understanding of what is at stake. When a mountaineering group climbs a Himalayan peak, for example, some of the mountain’s purity is compromised. The fragility of purity needs to be honored and protected. In the floor installation piece, The Fragility of Purity, I have tried to address this issue. By inviting exhibition visitors to each take one chura from the installation, the work of art will eventually disappear; its presence and purity will be lost. As a result of everyone taking their own little piece, the whole will be destroyed.
This exhibition is dedicated to Shreeya Bajracharya,
all of my pyari Palpali bahinis,
and all of the other perfect little goddesses across the country.
KCAC Nepal
On the 1st March 2011 KCAC Nepal moved. Our current artists in residence Michelle Hall and Soni Shakya are working in studios
at Patan Museum
Our library, on loan to the museum, will be opening there
soon. We will then publish access information and opening times.
