Rameshwar Broota’s recent body of work departs from his long-standing preoccupation with the corporeality of the male figure and engages instead with the visual representation of abstract cartographies. In his oil paintings, Broota resorts to his signature technique of excavating figures/objects from a paint-layered canvas with the sharp edge of a blade. As a result, his paintings evoke different shades of lightness and darkness, the latter becoming prominent with every instance of scraping, which creates an impression of inner luminosity. Having obliterated any figurative shapes, Broota goes on to make a series of primarily monochromatic artworks that have objects and impressions intimately interact within the scope of the canvas. Broota’s oil paintings evoke the impression of a crisis caused by the intervention of man which, interestingly, is represented through his physical absence.  The constitutive elements, resembling dismantled parts of a human body or machine gun, appear to forebode death in their technical aggression.

In this body of work, the artist also resorts to a new technique of painting where he uses resin to cover the oil painting, which imparts the same a liquid-glass texture. The decision to use this medium for use, namely, epoxy resin, was arrived at after extensive research work carried out by the artist himself, driven as he was by a need to impart his oil work with a glowing effect that extended beyond that of the surface of the canvas. The resin works through a cumulative process where the application of each layer of the same allows for miscellaneous material to be added till the impression reaches a three-dimensional state. This imparts the artwork depth in a literal sense, wherein the painting appears enclosed in a glass-like form. This extends Broota’s staple technique of sculpting out his figures from layers of paint with a sharp knife to a new form of expression where the sculptural quality is evoked by the two and three-dimensional effects the medium of the resin enables, especially through the insertion of text in some of the paintings on display.

Broota’s process-oriented work primarily deals with the contemporary moment and its constitutive human condition through the representation of bodies, both in their figurative manifestations and abstract extensions in space.