Artist Leo Jhankar grew up in Khotang and the influence of the Eastern way of life is evident in his works, especially in ‘Fragments of My Wall’. He has painted everyday objects red and on the backdrop, there are traditional homes, which can be spotted in Kathmandu.

At a time when we are completely engulfed in modernism, Jhankar highlights how our traditional and cultural utensils, often built using locally sourced materials, are being endangered. Jhankar reveals that he used the colour red because it us a deep and bright hue that stands out and because of its symbolic use to signify danger.

Things like pira (a hay-woven mat), haadi (a clay pot used for cooking) and nanglo (a flat bamboo tray made with bamboo) are drawn over traditional dwellings of the Valley. “I have tried to mix the culture of the Capital and my birthplace,” he says.

When he first came to Kathmandu he remembers being fascinated by the architecture of traditional homes. This fascination gave birth to the ‘Fragments of My Wall’ series.

Jhankar’s concern over the gradual disappearance of traditional utensils is palpable in his work. “I grew up using these utensils, but many have already vanished due to modern technology,” he says.

In his pen and ink drawings, the artist celebrates the farming traditions of the hills. With great attention to detail, he captures the essence of farm life, showcasing tools like the halo, kutto and kodalo—varieties of spades used thorugh agricultural history. These tools, often forgotten in busy city life, represent the strength and creativity of farmers who work the land. He has incorporated detailed images of items necessary for cooking and rituals, as well as agricultural tools into his canvas.

Through his art, Jhankar encourages viewers to take a moment and think about the significance of farming in supporting communities. By highlighting these traditional tools, he encourages us to recognise the hard work and commitment of farmers who strive to ensure food security and sustenance for society. In a world where rural life can be overlooked in favour of modernity, Jhankar’s artwork reminds us of the lasting importance of farming practices and the invaluable role of those who cultivate the land.

“My body of work is a way to highlight the memories of the village where I was born, where ink was and is still produced from local flowers to prepare images of naags (snakes) during Naag Panchami,” he says.Jhankar has also fit trees into his canvases. He has portrayed big trees in his paintings just as they are in his hometown. In ‘Abandoned’, many traditional utensils can be seen left behind. They lie on the bottom and in the background, a forest can be seen.

In ‘Let Me Worship My Land’, Jhankar illustrates a sansari puja, a ceremonial act of worshipping nature. He combines the social and natural worlds, encouraging viewers to consider how nature and humanity are intertwined.

In ‘A Day Without Rain’, Jhankar has depicted deforestation. At a glance, the work might not excite the eye, but a closer look opens up details and a bitter truth. “There used to be a huge forest but now half of it has been cut down,” he tells me. And this can be seen in the painting. A part of the dense forest remains while the other part is urbanised and industrialised. Jhankar has drawn remains of the cut-down trees to indicate rapidly increasing urbanisation.

“Cities are built by killing the trees, so instead of showing the city, I’ve decided to show what we’ve cut down,” he says. He has drawn each tree intricately and says he based this piece on an actual deforestation he saw happen around his settlement.

Another artwork titled ‘Memory of the Trees’ offers viewers a unique and intriguing perspective of the natural landscape. This piece presents a hemispherical viewpoint, drawing viewers into an immersive experience of the forest. Jhankar’s attention to detail while crafting this piece imbues it with a surreal quality, transforming an ordinary woodland scene into a subject of intrigue and curiosity.

One captivating aspect of ‘Memory of the Trees’ is how the intricate lines and shapes resemble cross-sections of tree trunks. These lines, often used to determine a tree’s age, add depth and complexity to the artwork. This dual interpretation invites viewers to contemplate not only the beauty of nature but also its rich history and the passage of time.

Jhankar says this work is an homage to all the trees that have been cut down. He dedicated this piece to the trees in a particular area in his locality in which a lot of trees have been cut down recently.

“I present the dense and virgin jungles of Eastern Nepal in some of my spherical compositions. I also depict rituals like the sansari puja, which involves the worship of trees and the god of rain with saal taparis (leaf plates),” he says.

Departing from his usual style of painting, Jhankar also delved into pop art, with the traditional utensils becoming the focal point of his work. Dubbed ‘Celebration of My Culture’, this series bursts with vibrant colours, injecting life and energy into the subjects. In each piece, the utensils exude a newfound vitality, as if infused with the essence of the cultural heritage they represent. Through his exploration of pop art, he breathes new life into age-old objects, inviting viewers to rediscover the beauty and significance of their cultural roots.

Jhankar’s message resonates deeply in a society where the pursuit of progress sometimes comes at the expense of our connection to the earth and our cultural roots. Through his art, Jhankar prompts city dwellers to reconsider their relationship with the environment and the cultural heritage they may have lost touch with. By reconnecting with nature and embracing ancestral practices, individuals can find a sense of belonging and fulfilment that goes beyond the fast-paced urban lifestyle.

Ink Trails

Where: Siddhartha Art Gallery, Baber Mahal Revisited, Kathmandu

Timings: 11:00 am to 5:00 pm, On Saturday: 12:00 pm to 5:00 pm

Till April 6