P R E S E N T         P A S T         A B O U T         I N Q U I R E








V    A    R    U    N      K    A    P    O    O    R








         The ancients knew sex and lived it to reach their true potential of being and functioning. They also used sex through meditative practices to substantially evolve their spirits.










          They were well attuned to the mechanisms of their conscience and remained aware of its functionality.














G  E  N  E  S  I  S           


Based on my research, Indians of ancient origin in India placed a great emphasis on divine love and embodied its workings into their livelihoods as did a few other cultures around the world. They discovered themselves through the exploration of sex, enabling the development of a greater consciousness within. It was only after their learning of sex that they naturally discovered the very essence of life and its simplicity.


It was known that the suffering from within— the ego, was what altered the perception of love making. As they progressed, they celebrated sex as this opened doors to advancements in their individual journeys as soul. They picked up higher knowledge and learnt greater expression.


The root causes of misunderstandings between people, chaos and violence known to prevail since the essence of time directly stem from a lack of the human desire’s comprehension, making it to be of great importance to attune oneself to the true ways of the human instinct.


The vital exercise of sex achieves the freedom of spirit. To encapsulate its practice is a first step to accomplish human salvation, seconding material wealth and lastly duty. It has been observed however that cultural propaganda and conservatism serve to mislead, only to enforce a resistance toward what will nevertheless eternally remain a part of man and woman.






P r e s e n t  f o c u s          


O P E N I N G

While a lotus (also known as nelumbo) is believed to convey strength and durability with its clean rise through tough mud, this is also informative of extraordinary ways of the human capability regarding what people can accomplish. To initiate a purification within a human and build strength whatsoever, physical needs must be first met in order to move forward.

The modern human is easily lost. Growing up, a child gets consumed by myths that are infused into the cultural history and theory surrounding the child. Contextually, this envelopes the lotus and the myths are responsible for the misrepresentations in the symbolism of the flower. People make constant attempts at putting pieces of this puzzle together, attempting to relate as they try to figure out their own placement on earth. Inevitably, messages about a lotus are not quite clearly understood by result of the exaggerations. Its rise from the mud is only so because of the nourishment delivered to it by its ground sources.  


PART ONE

THE LOTUS /Nelumbo
/High Vibrations Emitter



The above message of the flower bears a direct relationship to the one from ancient Indian teachings, based on earthbound pleasures. Inscribed in this series is a visualization of a special lotus flower quality—
its mysterious ability to make organisms around it feel high spirited and blissful through its constant discharge of vibrations.



T H E  L O T U S  / N E L U M B O  P A R T  O N E



T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “





T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  i i
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “





T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  i i i
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “





T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  i v
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “




T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  v
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “




T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  v i
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “





T H E  L O T U S  / H I G H  V I B R A T I O N S  E M I T T E R  i x
A c r y l i c  /  C a n v a s
1 2 “ x  2 0 “

P A S T


2 0 1 6  W O R K I N G S /
2 0 1 7  W O R K I N G S



2 0 1 6  W O R K I N G S  /  H U M A N  E M O T I O N

Humans constantly exchange psychological and social behavioural traits around the world through mediums of communication known to us. On one hand it gets uneasy to ignore subjects regarding the behaviour and attitudes of people as observed in Indian societies. On the other hand it is interesting to observe even the opposite amongst culture outside of India. What is more interesting is the way attitudes and beliefs are exchanged, making their way across the world except for some being rejected by Indian societies.




P R I D E
ACRYLIC / CANVAS
1 2 ” d i a m e t e r
The expression of positive pride uplifts and elevates as it provides a fulfilment of belonging to this universe. The idea of experiencing the emotion feels complete. Painted text- Fruition.



P R I D E  i i
ACRYLIC / CANVAS
2 0 ” x  1 2 ”
As observed, rural people in India create a sense of positive pride that is glorifying and humbling. Not enough credit is given to women in India despite their efforts put towards building Indian agricultural systems. Gender inequalities in the nation prevent women from gaining equal rights and power over productive assets like the way men are known to receive. Women will be recognised for their efforts regardless. Painted text- Glory.




L O V E
ACRYLIC / CANVAS
2 0 ” x  1 2 ”
The only form of natural and genuine love in existence is between mother and child. This is free from conditions, is pure and true. Painted text- Unconditional. Timeless.




F A I T H 
ACRYLIC / CANVAS
2 0 ” x  1 2 ”
It is hope for much needed water where there is a lack of it in drought bound areas of the country, which keeps rural India alive. Faith provides these people the courage to look forward to another day in their life. Painted text- Optimism.




N O S T A L G I A
ACRYLIC / CANVAS
2 0 ” x  1 2 ”
Revisits of early life experiences which are known to occur upon travel, allow the comfort of a memory to remain for as long as the journey is unfolding onto the person experiencing it. Painted text- Feed your soul.



S E C R E C Y
ACRYLIC / CANVAS
2 0 ” x  1 2 ”
When temptations cannot be found out, there lies a satisfaction in knowing it stays a secret. Painted text- Comforting is understanding power.




V I C T O R Y
ACRYLIC / CANVAS
3 6 ” x  2 0 ”
People from various walks of life and indifferences withhold an underestimated unifying togetherness that a majority seize to acknowledge. Painted text- Unity is progress.



L I B E R T Y 
ACRYLIC / CANVAS
3 6 ” x  2 0 ”
To be free means letting go of the carrying criticism known to stem from an outside world, which is only poison to the mind. It refers to giving up being conscious of how one must appeal to critics. The only way to live is the way that is comforting. Painted text- The way is to let go.




H Y P N O T I S M 
ACRYLIC / CANVAS
3 6 ” x  2 0 ”
The heavy feeling of being deceived springs from an individual’s flawed judgement towards the idea of love. Painted text- Real is deception.




2 0 1 7  W O R K I N G S  /  S P I R I T  O F  N I G H T

Spirit of Night is a series of works portraying the power of a flower, an organism felt and known to be a symbol of beauty. This power refers to the vibrations that the flower emits when we are in its captivity. It often influences our choices through energies not exactly understood. People grow attachments to various flower types and their symbols. This attraction toward a flower is revealing about the person drawn to it for instance the revealing of inner character traits and this questions the depth of the person's relationship toward his or her surroundings. The works portray floral energy being transferred from flower to an individual who is then immediately absorbed by its presence. As a result, this allows for a deeper understanding of bonds because spirit itself lies within every being, constantly communicating.




R E D  R O S E
A c r y l i c  /  C a n v a s
6 0 “ x  4 4 “





M A D O N N A  L I L Y
A c r y l i c  /  C a n v a s
6 0 “ x  4 4 “




A B O V E  M U D D Y  W A T E R
A c r y l i c  /  C a n v a s
6 0 “ x  4 4 “





B L U E  M O R N I N G  G L O R Y
A c r y l i c  /  C a n v a s
6 0 “ x  4 4 “





D E L O N I X  R E G I A
A c r y l i c  /  C a n v a s
5 6 “ x  4 2 “





B A M B O O  O R C H I D
A c r y l i c  /  C a n v a s
5 6 “ x  4 2 “



Mark

S C H O O L

2012 —13




Art school is where I had begun to deeply look at subjects in front of me from various perspectives, giving myself a chance to explore the drawing medium through the academics with constraints and time frames. I recall experiencing the birth of a few ideas here that I took along with me ever since to dwell into more concrete directions with concepts that I explored during my time working on some of these projects, whether they inspired me to build into my background compositions in paintings that I produce now or have remained yet to be explored further by me.




I would find myself learning to concentrate on fixed areas better while drawing, making those positive placements of my focus while letting other areas remain negative placements until a drawing was complete.




I gradually started to place an emphasis on tone and value positioning on a subject in front of me.





A conte and coloured charcoal drawing of objects.





A view of the art school during outdoor drawing.




In figure drawing, I found that attention to small detail for curves were tricky and required a lot of energy, one that required me to keep my eyes peeled. The two minute sketches were intimidating, challenging and fun.








Some watercolour sketches here. These were made off a few found plant seeds and other plant subjects found around on campus, where you could find a diverse range of objects to use as study.




After discovering coloured pencils that blended in water, I experimented and played with drawing often.







Tree Project was part 1 to a project that I explored drawing various trees with. This made me look at the diversity of trees around my locality. I sketched various trees throughout this 124 paged, cartridge A4 sketchbook here. To me, each sketch is quite memorable being a reminder of the beautiful biodiversity surrounding me at the time.


















Tree Things To Remember was part 2 to the project exploring the drawing of trees. This concept emphasized on the relationship of organisms mimicking the visual formation of trees.




On Time was part 1 to a project based on the notion of time. This was an A5 sized spiralbound sketchbook with a canvas wrapped cover, which inspired me to do an illustration on it using oils. I playfully expressed what time meant to me through a concept of movement and age. 










On Time 2: Recorder was part 2 to my project on the notion of time. This was an A4 sized, 124 paged, cartridge hardbound sketchbook that I fondly drew all through out, enjoying the process and watching a steady improvement in the quality of strokes through the workings.




As also mentioned by me in the book itself, this records time capsuling the stages of living and was inspired by contour drawing except the difference was that a core focus was placed onto thoughts from the subconscious to allow a direction from start to end. It was a meditative art practice I picked up upon. The journey of the sketches recorded moods of hard times and death.






These two quick outdoor and indoor paintings done in oils here on cardboard paper were knew experiences in their own way. I was only beginning to get a hold of the application of oil paints. There are just many ways to use them and these to me were interesting studies.




These were some quick acrylic workings on cardboard paper, easier to work with compared to the oils.




A face from my subconscious, pen drawing.




A tree nut and a local pine cone study, watercolour.




A quick self portrait, 2013.



A  B  O  U  T

V         A         R         U        N           K         A         P         O         O         R





          I am a contemporary artist based in Mumbai, India. I create artwork combining photorealism with expressionism. My art spreads an awareness of the way sexuality integrates itself into the human conscience and how it plays a significant role in propelling it. It deals with human sexual instinct, its expression and its importance while redeeming the human from the oppression of conservatism.

I embrace to perpetuate the female figure into my art as my main component because female forms and shapes speak of the universal harmony I choose to represent. Often depicting her nude, I believe that recognition is only perceived and measured through the nakedness in her form.



My aim is to widen the spectrum of acceptability across societies by bringing back intimacy of the human instinct, allowing the reinstatement and consumption of its expressions. The intention of my work is to empower the demystification of divine love and administer a true perception of living with its insertion into the growing loopholes of the human conscience.














I was born in Mumbai, India. Art found me at age three and has been a part of my voice ever since. It initially grew on me through mediums of drawing long before painting. I hold a bachelor degree in graphic design and for the most part, find myself closely drawn to modern typefaces. Hence, I end up toying with my typographical design influences, embedding them into my working style sometimes to address core imports. I see design playing a pivotal role in the structural establisment of my art forms.




















My artwork also focuses on evoking the emotions and stages of arousal prior to and post sex. It emphasizes an allure seen in the character of an individual, which is liberated through his or her correctly exercised psyche. Upon an ongoing study of human behaviour in the modern time, I also place a focus on sensuality and reflect upon relative subjects. I eventually brand each work an ideogram above my signature as a symbolic representation for a unique identity.





























C V

Purchases/ Commissions/
Collaborations

artist@artvarunkapoor.com
99875 80004




Studio

2B 153 Windermere
Andheri West
Mumbai 400053 India













RECOGNITION IN THE HUMAN FORM IS MEASURED THROUGH THE NAKEDNESS.

︎        ︎

© 2018 Varun Kapoor. All rights reserved.