murali cheeroth


I born and bought up in cultural capital of Kerala – Thrissur, which is very famous and renowned for its own highly traditional and ritual practices. My child hood practices along with rituals filled my eyes with colors and my mind with explicit forms of idols worshipped in my family. Being from a family of ritualistic practices carried over by my for fathers like Oracle ()(revelator of God- practicising in temples) also influenced and reflects in my profession later periods.

There are so many other factors evolves and influenced directly and indirectly are, social environment, fables from My Grandparents, also Mythological literature oriented with illustrations interwoven with high imaginary forms and characters with an unidentified possibilities of magical realism and in a surrealistic manner reflects in my works consciously or un consciously like a metaphor of my self -portraits.

Mechanical forms, repeatedly comes in my work is also other example, and indirectly reading practices of literature and epics both Indian and Greek connects and extends towards ( Trojan horse). Few ritualistic aspects very much related to France or European history like Trojan Horse. Mechanical horse of Velur ( my home town ) which is run by a mechanical force created by carpentry technique and the movements controlled by a person, (people while carrying on shoulders of devotees approximately 60 people) who is sitting inside the horse, and narrated designs carved in wood along with war scenes represents the images of warriors ready for fight (Ref;- google you tube - Manimalarkavu vela)

Worshipping methods in family tradition, oracle prophets, from our family rituals like kalamezuthu,( a unique powder drawing ritual art of Kerala, though temple-centered, has the elements of tribal and Dravidian cultures)., kolam ( during special occasions powder drawing with colourful manner like festivals, marriage etc ) which is typically traditional and ritual acts with high symmetrical forms and mostly with primary colours -

Wooden idols(ref -5) of different Gods and goddesses which our ( family ) worshipping throughout ages and Christian church(6) , related schools, teachers ,friends, literature , travelling, also influenced me and reflects in my works in different forms.

How started the works - after completing my primary education – from the regional school – moved to middle school which is nearby I was interested in making toys by carving wood ,viewing this, Young sculptor velur Johnson(My Fine Art Teacher) guided and given me the basic lessons of arts (Drawings, water colour, sculptures-(terracotta) and also art books, great masters of both Europe and India , got a chance to know more about western and Indian masters

Later I joined for foundation course(two year) in painting 1998(Dharu shilpa-traditional method of sculpture- and modern sculpture, mural painting also,-included with subjects English and Sanskrit as second language in Kalady university (Cochin) passed out in 2001 and further continued my studies in painting for BFA with first Rank in painting in 2005 April After graduation, continued the work, deals with more space and form in environmental sculptures and designs

My strong desire and ambition to continue my further studies and enquiries in same field - joined for MFA painting in RLV college( Mahatma Gandhi university kottayam _kerala) and passed with first class and continued my enquiry. Further lead me to shanthiniketan (viswa bharathy university W.Bengal) consider to be a one of the best university in INDIA to learn more about mural works of great masters BInod Bihari mukerji , Ramkinker and contemporary artist K.G Subramanyan.

Abstract thoughts about drawing which in -herited in me from both traditional and academic embodied and structured also churned out a new form and concept to my drawings

Paul Delevaux ( Belgium artist ) highly influenced me, also very strongly reminded me to go back to tradition. William kentridge ( south African contemporary artist) drawing also influenced me in another way to to study more about the linear detailing with different medias like charcoal and Indian ink

Why I particularly choose Indian ink as a medium:- After trying so many medium I found more comfort with particularly this water based medium because as I mentioned rituals of my family and traditional art works very much related with powerful contour lines of black which always enhance the form and gives an distinct vibes over the form

Relevance of medium( Indian ink) It is considered one of the oldest medium invented by chineese orgin in (3 B.C) looking into the present scenario of art I felt a kind of adulteration in aesthetics with colours as a part of commoditization and system “ Black and White” literally, the term which always used in its own sense has to bring out in my work along with traditional medium and also with thematic representations

About flying forms in my recent drawings Why history, dream and adventures become an inspiration for my works? The village where I was born is historically significant with many myths and mythical stories. The main reason why I am so fond of those subjects may be that I was born in a place where there are many folk arts and oracles and mythical stories about them. Even now fear haunts me in many ways. I channelize fear born out of fairy tales and stories of ghosts and devils that I heard in my childhood in the form of adventures to my works. My mind’s attempt to surpass the fear may be the factor that inspires me doing the same. I do not visualize only the dreams in my works. Historical places may have number of stories of past to tell. Sometimes, historical events intertwined with myths and history makes those places quite magical. I manifest a new world there painting the synthesis of my imagination and magic

Metaphorical elements as a self portrait , Dreams were my inspiration to my works. My best dreams were that of my childhood and perhaps they may have reflections in my works too. Those dreams create in me a magical and adventurous world of hallucinations. In later stage, myths and historical backgrounds have been interwoven in my drawings. Images in my works are created without losing the reality of my dreams. Dreams are born out of the fairy tales, stories of ghosts and souls told my grandmother. I see my grandma in the memories of dreams and I enjoy the security of her warmth. Dreams are beyond spacio-temporal realms? Dreams and souls live where there is life and have relevance in this mechanized era. ‘I’ in dreams and ‘I’ who see are one and the same and this identity may be the reason why I am able to contain the reality and feel that I am living within it.