“When I see the mirror, I see the abstract. A form has density, whether it is hollow or solid. The density of the form is an abstract. Abstract is a concept of infinity”.
Starting from the mimetic representation of the figure by means of photography, the paintings of Ganesh Gohain are crystallized in the emergence of a minimal structure that resists being covered up by means of painting.
The surface becomes a unifying vibration; the image tends to dissolve into the pictorial space (which Ganesh himself describes as an abstraction) traversed by the subterranean remains of an objective memory partially (or completely) freed of its legible referents. This series of paintings immediately evokes in the viewer the strange sense of a familiar world that is hiding, which in turn induces a desire for insistent attention, for here perception is not exhausted in the fleeting moment of one intent look. This is an encounter that builds over time. An inaugural presence that we understand will require repeated visits to penetrate its polysemy and its enigma.
Thus, with an approach that might seem paradoxical, he undertakes to revisit certain aspects of the trajectory of the modernist painters by following the historical path which, from object to its representation, from figure to sign, from illusionistic depth to the objective materiality of surface, gave birth to abstraction.
This time, it is photographic images printed on canvas that serve as background and foundation. These photos are indiscriminately taken of plants, trees, flowers, vegetables and seeds encountered randomly in the city, in the countryside, or at markets. They correspond to formal sensations which are relative to the feeling of the essential vital force and its organization and to the perspective dynamic power which animate Ganesh Gohain and constitute the very fundaments of his existence and his artistic thought.
Professor at the Ecole Superieure des Beaux-Arts du Mans-France