In Satirical Symphony, A. Rajeswara Rao showcases his unique reverse painting technique on acrylic sheets. This vibrant exhibition at Visual Art Gallery invites viewers to reflect on the humorous and thought-provoking themes of materialism and social mimicry in society, writes TEAM VIVA
The recent exhibition of Satirical Symphony by A. Rajeswara Rao showcased a vivid exploration of societal dynamics, leaving a lasting impression on all who attended. The crowd’s reaction to his artwork was visible, as the humour and critique embedded within each piece resonated deeply with viewers. The series, characterised by Rao's reverse painting technique on acrylic sheets, offers more than just visual appeal; it is a mirror reflecting the characteristics of a society undergoing rapid change. Curated by Annapurna M. and Kiran K. Mohan, the exhibition was not just a display of artistic brilliance but a reflection of Rao’s sharp observations on human behaviour.
At the heart of Rao’s works lies a sharp satirical lens. His paintings humorously capture the essence of people, their desires, and their attempts to mirror a high-society lifestyle. Rao himself drew inspiration from the transformation he witnessed in a village near his studio. Once a place of modest lifestyles, where people walked or cycled through narrow lanes, the village changed almost overnight after an industrial group arrived. “All of a sudden, people started driving motorbikes, cars, and adopting fashionable items like sunglasses and leggings,” Rao explained. He found this shift amusing and decided to reflect it in his work, seeing it as an exaggerated attempt to imitate higher society. This theme of sudden wealth and social mimicry is evident throughout the Satirical Symphony.
Among the standout works in the exhibition was 1947 Classmates, which, along with pieces like My New Ray-Ban, prompted both laughter and introspection on the impact of materialism on self-image. Guests were particularly captivated by My New Ray-Ban and New Billionaire With Her Golden Ducks, both of which explored this abrupt transformation in a humorous yet thought-provoking manner. Rao’s bold use of colour and exaggerated figures transforms these everyday scenes into a striking spectacle of satire. His reverse painting technique, especially on acrylic, introduces a dynamic layer to his compositions, allowing light to interact with the transparent surface and creating an almost ethereal depth.
What was most engaging, though, was how his art connected with the audience on a personal level. Visitors could easily see reflections of people they knew or perhaps even of themselves in his depictions of men and women adorned in flashy attire, oversized sunglasses, and luxury items they didn’t quite seem to belong with. Yet, in all the laughter and satire, there was a genuine warmth in how Rao portrayed these characters, making them endearing rather than simply objects of mockery.
The exhibition also drew attention to the artist's masterful technique. Rao's ability to layer humour with critique, using a vivid colour palette, kept the audience mesmerised. Paintings such as Smoking Zone and Massage Centre demonstrated how he uses space and detail to draw viewers into his world. The juxtaposition of ordinary people in extraordinary circumstances added to the intrigue and made each painting a story in itself.
It was heartening to witness the engagement between the artist and his audience. Many of those present spent considerable time in front of each painting, clearly appreciating not just the technical brilliance but also the wit that Rao brings to his art. Conversations among visitors frequently circled back to how well the paintings captured the ridiculousness of societal pretensions. In this way, the Satirical Symphony did more than entertain; it provoked thought, forcing viewers to reflect on the often comedic ways in which people chase status.
A. Rajeswara Rao’s Satirical Symphony was a winning showcase of satire at its finest. It reminded everyone that while art can be a serious reflection of society, it can also be a source of humour and lightness. Each painting, from The Kings to The Merry World, invited viewers to look beyond the surface, to laugh at the follies of human nature, and to leave with a sense of connection, not only to the art but to the society it so cleverly critiques. Rao’s work leaves one pondering how wealth and societal pressures shape identity, all while smiling at the absurdity of it all.
The exhibition will continue at Art Magnum Gallery until 20 October 2024, offering those who haven't experienced this thought-provoking show a final opportunity to immerse themselves in Rao's satirical vision. Don't miss the chance to explore this engaging dialogue between art and society!
