It was built into the mountain of the Western Chats – from the inspiration of this Exhibition. 2,500 years have passed – no more golden idols and saffron robes – a silence of ended prayers – almost undisturbed in their isolation above a busy green valley. Yet Hindus are irrepressible, and it is still the practice of village folks to climb up these deserted caves and offer a splash of holy colour in the house of an unknown god. Through this action, a lost post and a living worship meet.David Jane saw it, felt it and absorbed in to there Painting.
Paintings are almost always windows, doors or entrances into possibilities closed off in day to day reality. David Jane, he often used shapes taken from entrances and views through windows, to emphasis paintings meditative nature and its power to take us into other sides of ourselves. These are abstract works but once based in reality. The service is a result of a visit to India. The groups of rectangles which proliferate in the exhibition are taken from photographs of entrees to the cells at Karla and Bhaja caves. They are mainly monochrome images, but the ones use using color reminds these who have visited Indea of the way temples are smeared with pigment by devotes person wishing for happiness, fertility, to word off the evils of the world or to find spiritual enlightens. Texture, which presses readily on the senior in the other strong component of the work. David Jane mixed pigments, turps charcoal and pastel into surface which move away from surface – the feel and depth of ancient builders. The shapes of the entrances changed in each Painting. Occasionally these simple poetic images take on an unexpected solidity and with it gain a different metaphorical weight, some are even transomed into amorphic shapes both rock like and human, and appear as old as the caves themselves.
Work from India after Brazil.
Photos and drawing.