Have you ever wondered the difference between being naked and being nude? Or did you perceive them as synonymous terms and never wondered about their differences?

British art historian Kenneth Clark, in his book ‘The Nude: A Study in Ideal Form’ says, “To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The nude is not the subject of a momentary awkwardness, but a balanced, prosperous, and confident body: the nude is not the same as the naked body.”

Similarly, the first stanza of the poem ‘The Naked and the Nude’ by Robert Graves articulates that being naked and nude is as far apart as “love from lies” and “truth from art”.

For those who would like to comprehend more about nudity and debunk their misconception regarding nudity being synonymous with naked, I recommend they witness ‘Lines of Emotions: Nude Expressions’, a solo exhibition currently on display at the Takpa Gallery.

“When you step in the gallery and feel no shyness while observing the artwork, then it is a nude art,” says figure drawing artist Kapil Mani Dixit.

Dixit’s ‘Lines of Emotions: Nude Expressions’ compels spectators to disassociate exposure, eroticism and vulgarity, which is often linked with nude art.

Transcending mere physical representation, this exhibition presents the nude body as a powerful medium for emotional and existential exploration.

Stepping inside the gallery, art’s gravity will pull you in. Almost all artworks highlight the figure of the eye: vivid and large. You will be compelled to maintain eye contact and decipher the emotions reflected in those eyes.

Dixit explains his focus on the eyes, “In the past, I used to draw and portray human emotions by looking at a human body. During the covid epidemic, I observed emotions in people's eyes. With a mask covering their face, I tried deciphering the emotions of people reflected in their eyes. I had an epiphany that, to capture people's emotions, I do not need to paint just the human body; I can capture emotions by painting their eyes too.”

The artworks displayed there are unlike any other works you will witness. Some of the drawings might look appalling, but that is what makes his works unique. It breaks the conventional narrative of what makes an artwork beautiful.

A striking artwork of a large woman immediately captured my attention. The woman in the drawing possessed four hands, with fingers resembling toes, saggy breasts, and large, expressive eyes radiating confidence. Her presence exuded strength and resilience. It was a stark contrast to conventional portrayals of femininity. Pink is the colour in the backdrop—a colour traditionally associated with sweetness, tenderness, and femininity. At first glance, this juxtaposition seemed unnatural, but as I gazed deeply at the artwork, its message began to unfold.

The pink, far from being merely decorative, served as a reminder that femininity is not limited to softness and grace. Instead, it encompasses a dynamic range of qualities. This artwork seemed to declare that women can embody sweetness and tenderness while simultaneously exuding strength, toughness, and confidence.

The artwork mirrored the delicate balance between what society often labels as ‘feminine’ and ‘masculine’ traits. In today’s world, where rigid gender expectations are increasingly challenged, this balance feels more vital than ever.

Reflecting on the piece, artist Dixit says, “I feel that women are superior to men. The four hands in the artwork symbolise a woman’s ability to multitask and juggle countless responsibilities with grace. The large size of the figure signifies the greatness and power women possess. Through this artwork, I wanted to express my respect for their strength and resilience.”

Indeed, this artwork propels viewers to rethink outdated stereotypes and recognise the harmony between softness and strength, tenderness and toughness.

Those familiar with Western art movements can connect Dixit's artworks with Post-Impressionism, a French art movement that defied traditional rules and regulations of art, rejected strict naturalism and instead prioritised emotional depth, individual expression, and symbolic meaning.

Like Post-Impressionist paintings, Dixit’s artworks in the exhibition embrace a wide range of individual styles, personal artistic philosophies, and experimentation.

Many of us believe that painting must be done with paintbrushes or palette knives; otherwise, it is no longer a painting. However, Dixit’s artworks reflect that he does not like to be bound by traditional rules of art. His marks of fingers and fingerprints are visible in his paintings. Dixit has used his hands as paintbrushes to paint.

“Using my fingers to paint deepens my connection with the canvas. I love the sound of friction produced by my fingers while I paint. I want to break the rules and follow my heart. I am guided by my intuition. I do not sit to paint, thinking I must paint in a certain way, following certain rules. I want to be free.”

While our society criticises those who break the rules and follow unconventional paths, Dixit’s work mirrors that he is nonchalant towards society’s judgement.

Moreover, another artwork displaying the nude figure of a woman is painted not on a canvas but on a carpet. Painting a figure on a carpet instead of canvas might seem like a bad idea, but Dixit proves otherwise. He likes to break rules and follow his heart, making his artwork creative and appealing.

He made this in 2019 when there was neither canvas nor a piece of paper to work with. He had to go and buy it, but the carpet was in his studio and immediately accessible. So, he decided the carpet would be his canvas.

Another distinct trait of the artworks displayed is line. The paintings and drawings are full of lines emerging from nowhere and everywhere. To the beholder, those lines do not distort the art but intensify its appeal.

To Dixit, a line is a popular subject of art. The breadth and length of the room, the silhouettes of hills and mountains, the beams of sunlight. He sees lines everywhere and has an unexplainable fascination towards lines, which he incorporates into his artworks. His distinct style, as such, tempts visitors to go near him, hoping to have the paintings deciphered for them.

While gazing at his artworks, I wondered if he ever worried about his artworks not turning out aesthetically appealing. Answering my question, he says, “All the artworks that I have done, I have done for myself and my enjoyment. I do not intend it to appeal to anyone’s expectations. I do not work on a piece of art to impress or prove anyone.”

His answer takes me back to a Literature class where I mugged up the philosophy ‘Art for Art’s sake’. This philosophy emphasises that art exists primarily for its beauty and emotional power, independent of any moral, political, or utilitarian purpose. It celebrates creativity as a pursuit, free from the constraints of functionality or the expectations of society. Dixit subconsciously embodies the philosophy of ‘Art for Art’s Sake’ by prioritising personal expression over external validation.

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Lines of Emotions: Nude Expressions

Where: Takpa Gallery, Lazimpat

When: January 4 to February 1

Time: 11:00 am to 6:00 pm on Tuesday to Thursday, 11:00 am to 7:00 pm on Friday to Sunday and closed on Mondays.

Entry: Free