The societal complexities of a region as and when underline the personal choices are often a springboard for a creative practitioner's growth and artistic endeavour. Narayan Chandra Biswas, employs his sculpting practice to draw the audience's attention beyond the illuminating veneer, to invite them to delve deeper into the layers of meaning. Through his skillful manipulation of materials, Biswas creates illusions that challenge the trained eye. A deft sculptor, Biswas draws inspiration from his father, Ananta Biswas, a mechanical engineer turned carpenter. Born in Bastar, Chhattisgarh, Biswas's family migrated from Kolkata in 1980 due to the repercussions of  the territorial conflict between Bangladesh and Pakistan, then East and West Pakistan respectively. His artistic journey is a captivating blend of personal history, cultural milieu, and artistic exploration.

In 2010, after enrolling at Maharaja Sayajirao University of Baroda, Gujarat, Biswas's practice evolved from paintings and drawing, later  focusing on the use of metal to ascertain the idea of permanence. This shift towards this medium aligned with his pursuit of permanence and the timeless quality of memory. He associated the nature of metal with the endearing memory of his father. His familiarity with metal stemmed from his upbringing in Bastar, a region renowned for its metal craftsmanship. However, he approached metal with a unique flexibility, proficiently crafting and carving the material.

In his inaugural solo exhibition, ঐতিহ্য  : Aitijhya, Narayan Chandra Biswas delves into the rich architectural tapestry of India, exploring the historical complexities of various regions within their socio-political and economic contexts. Specifically, inspired by the Pol - a cluster of houses inhabited by people from different pockets of society - he subtly blends common markers and symbols of religion, politics, and economic welfare. By exploring the concept of architectural harmony, Biswas creates a confluence of different monumental elements and symbols, resulting in large-scale, freestanding sculptural edifices. Consequently, he creates a distinct visual language that reflects underlying social conditions defining multiple stratas of society. 

The exhibition ঐতিহ্য  : Aitijhya, serves as a testament to the enduring histories that have existed in contemporary India. Emphasising on India's syncretic ethos, Biswas incorporates multiple designs of infrastructures  to underscore the inherent cultural diversity. Attentive to the exclusion and marginalisation of minority  groups, Biswas meticulously amalgamates material and structural elements from different religions and traditions to create a unified and cohesive monumental sculptures. The inclusion of religious symbols, such as the wooden crucifix or the crescent moon, highlights the diverse religious landscape of India and its inherent co-dependence.

The sculptural installations by Biswas, towering and imposing, create a dynamic impact on the viewer. Often attempting to be overpowering, the audience experiences an interplay between light and shadow, space and subconscious. Biswas's meticulous attention to detail and his ability to evoke emotion through form and space elevate his work beyond mere technical skill, to tout him as a promising artist. 

The title of the exhibition, ঐতিহ্য  : Aitijhya, encapsulates the driving force behind Biswas's artistic exploration. A term in Bangla, Biswas’s native tongue translates to English as ‘oral tradition and legacy’, specifically, those passed from his father to him.  Were it not for the inspiration from his father, Narayan Chandra Biswas would have been lost. These filial emotions are poignantly expressed by the poet and  lyricist Nida Fazli in his poem, Walid Ki Wafat Par*.

Manan Shah

Tumhārī qabr1 par

maiñ fātiha2 paḌhne nahīñ aayā

Mujhe mālūm thā

Tum mar nahīñ sakte

Tumhārī maut kī sachchī ḳhabar jis ne uḌaa.ī thī

vo jhūTā thā

Vo tum kab the

Koī sūkhā huā patta havā se mil ke TuuTā thā

Tumhārī qabr par jis ne tumhārā naam likhā hai

Vo jhūTā hai

Tumhārī qabr meñ maiñ dafn3 huuñ

Tum mujh meñ zinda ho

Kabhī fursat mile to fātiha paḌhne chale aanā