Palakkad-based artist Vimal Chandran reimagines characters from Kerala folklore in a sci-fi setting for his new digital collection, drawn from a toddler’s perspective
It is sort of a half-remembered dream. A sickle-wielding oracle, a school-going boy, a cluster of areca nut timber and leaping roosters on both aspect. Artist Vimal Chandran plucks recollections from a childhood in Palakkad and locations them in a world the place extra-terrestrial creatures rise from the seas and descend from the skies.
When the pandemic hit final 12 months and Vimal moved from Bengaluru again to his hometown in Kerala, he was reacquainted, after a break of 15 years, with village folklore, myths, temple characters and superstitions he had heard as a toddler. These vivid visuals creep into his ongoing artwork collection, Folks SciFi.
“I’m reimagining characters from our native traditions in a Science Fiction atmosphere. These are unreal tales about actual individuals in actual locations,” he says.
The artworks are 12-second animations, blinking like glitches within the matrix to ominous music. The colors — dreamy and surreal — keep within the spectrum of blues and greys.
In The Go to, Vimal tells the story of Pootham, a poltergeist who goes from home to accommodate in search of slightly boy he has turn into hooked up to. Performing artistes in Kerala enact this character, visiting houses in villages after the summer time harvest, and it’s the reminiscence of assembly one such ‘Pootham’ on a summer time night by the river Nila that Vimal captures.
The Go to by Vimal Chandran
In his rendition, the Pootham hovers miles above the boy and his mom, as if damaged away from a passing UFO. This attitude — of a giant legendary creature gazing down on a toddler — carries ahead in all of the works; whether or not it’s the huge picket horses of Kuthira Vela or the character of Darike, from the standard theatrical battle between Darike and Kali. “As a toddler, these characters would appear scary and engaging to me on the identical time. There was at all times a sure stage of apprehension seeing their painted faces and weird appearances however on the identical time they have been so vibrant and majestic that I couldn’t cease taking a look at them,” he says.
Vimal brings again these recollections within the fashion of magic realism, clubbing it together with his curiosity in sci-fi — one thing that bloomed as he fell in love with the Russian journal Misha in a communist-leaning Kerala of the Eighties and ‘90s.
4 of the seven artworks have been launched and bought thus far, as NFTs, on WazirX market. “I needed to inform distinctive tales from my fatherland, tales which were handed down for generations,” says Vimal. “These are 4,000-year-old tales on the blockchain for the primary time, and that’s attention-grabbing to me as a result of as soon as up there, they may stay ceaselessly.”
A giant believer within the NFT house, he says that creating an NFT makes it simpler to tokenise and promote genuine copies of his digital paintings. “I’m not restricted by the 2D canvas, I can discover animations and sound, and collaborate with completely different artistes. Additionally, historically, I might not have had management over my paintings as soon as I bought it. However this manner, I can observe the secondary gross sales too and get royalty for it every time,” he says. “Whoever has began investing in it, is already forward of the curve.”