How would you describe your kaleidoscopic, four-directional mural style to someone seeing it for the first time?
I often use the example of a kaleidoscope. Just as the patterns inside a kaleidoscope shift and transform with every turn, my four-directional artworks reveal entirely different stories and figures depending on their orientation. A single, two-dimensional frame can hold multiple narratives—a portrait might become a landscape, a deity might transform into birds or abstract forms. The art isn't static; it's an interactive experience where the story changes based on the axis you view it from, creating a dynamic, kaleidoscopic vision within one piece.
Could you walk us through the narrative of your signature artwork?
This piece is a perfect example of the four narratives contained within one frame. In the portrait orientation, the viewer first sees Lord Ganesha. Rotate it to landscape, and two green figures emerge. Flip it to the reverse portrait, and the composition reveals two birds. Finally, in the reverse landscape orientation, two yellow figures come into view. It's a single artwork that invites the viewer to physically engage with it, discovering new imagery with every 90-degree turn.
What story does this four-orientation set tell about the hunter?
This artwork, which sold in 2024, depicts a complete narrative cycle. In portrait mode, we see the hunter with his bow, poised and ready. The landscape orientation shows him preparing for the hunt, perhaps in a moment of focus or ritual. When rotated to the reverse portrait, the scene shifts to depict the hunter after the hunt, suggesting a moment of reflection or rest. Finally, the reverse landscape mode reveals the hunter's family waiting for his return. It's a poignant visual story about anticipation, action, consequence, and reunion, all contained within the rotation of a single canvas.
What can you tell us about the technique and detail visible in these close-ups?
My process is fundamentally architectural, built from the ground up. It all begins with points, which I then connect using various types of lines to discover identical shapes and forms. Once these foundational elements are established, I add intricate textures and line patterns that are specific to the identity of each shape. The final layer is color, where I apply tones and shades that further define and enhance the forms discovered within the two-dimensional frame. This meticulous, layered approach is what allows the artwork to maintain its integrity and reveal coherent, distinct images across all four orientations.
Could you describe your creative process from the first point to the final color?
My creative process is a journey of discovery within a defined space. It always starts with simple points on the canvas. I then begin connecting these points with different lines—straight, curved, intersecting—which starts to reveal potential shapes and forms. This is the most meditative and crucial stage, where I rotate the 2D frame mentally and physically, looking for identities in portrait, landscape, and their reverse modes. Once I lock in these four directional identities, I add more lines and patterns to solidify them. The final step is introducing color, tones, and shades, which are never arbitrary; they are applied strictly as required by the identity of the shapes and forms found in each orientation. This disciplined process ensures the kaleidoscopic vision is complete and balanced.
What was the vision for this proposed installation, and what scale were you imagining?
This is a concept for a future installation that has not yet been executed. The vision involves a series of murals at different scales to create an immersive environment. The proposed sizes are approximately 3x4 feet, 4x5 feet, 5x6 feet, and 3.5x4.5 feet. The idea is to have these works interact within a space, allowing viewers to move around them and experience the shifting narratives from different angles, turning the entire room into a larger kaleidoscopic experience.
How would you describe the mood and intention behind this color palette?
The primary mood I aim for is meditative. I want the colors to draw the viewer in and encourage contemplation as they explore the different orientations. However, I also design with high contrast in mind, specifically to make the artwork stand out against the interior of its location. The palette needs to be both harmonious for introspection and bold enough to command attention and define its space.
What role do these initial sketches and grids play in achieving the final kaleidoscopic effect?
These sketches are the essential blueprint for the entire piece. They are where I solve the core puzzle of my art form. On these pages, I work out how a single composition can logically and beautifully decompose into four distinct images across the different modes of a 2D frame—portrait, landscape, and their reverses. By planning this rotation or revolution on paper first, much like plotting the mirrors in a kaleidoscope, I ensure that the final painting has a perfect, intentional kaleidoscopic vision. The grid helps me maintain symmetry and alignment, which is absolutely critical for the illusion to work seamlessly when the canvas is turned.
Can you tell us about your experience exhibiting at the India Art Festival?
It was a significant moment for my work to be featured at the India Art Festival, held at the Nehru Centre's Pavilion. I was fortunate to have a nine-panel booth sponsored by Mr. Rajendra Patil, the owner of the festival. Exhibiting there was incredibly rewarding, as it allowed a broad audience to physically interact with the rotational concept of my paintings, which is essential to fully experiencing them.
What kinds of projects are you most excited to take on next?
I am genuinely open to and excited by all the avenues you mentioned. I'm looking forward to large-scale murals that transform public spaces, and kinetic or rotating installations that physically embody my art's philosophy. Collaborations with other artists or disciplines could yield fascinating hybrids, and I love conducting workshops to share the method behind this style. I'm actively seeking commissions, both private and commercial. Furthermore, I'm particularly interested in projects that push the material boundaries—installations using multimedia, mixed media, or even creating art from recycled materials ('best out of waste'), alongside continuing my practice in pure acrylic paintings. The core of 4-Directional Art can be applied to so many forms, and I'm eager to explore them all.
Contact and Follow
Email: rmshndhkr1953@gmail.com
Website & Instagram: https://rameshaundhkar.in/instagram:https://instagram.com/aundhkarramesh?igshid=ZDdkNTZiNT
