Kaushik Saha’s rich surfaces of sweeping gestural paint use mark-making techniques of a wide variety. His paint is often poured, dragged, splattered, daubed, scraped - allowed to congeal. In the large works on board the painted surface is often overlaid with zillions of rusty nails hammered on and then conjoined with lengths of copper wire zigzagging through the nail heads. Some of the works have flattened bicycle tyre tubes making up much of the surface on which paint is applied. The humble tubes, a signifier of everyday labour like the nails, and the copper wire, help him build a surface that allows him to camouflage a subversive narrative tableau that lurks within.
Kaushik chooses to be an observer with a sharp eye that draws our attention by sly referencing. His control over the syntax has not led him to smooth out the quirks. An ambitious attempt at bridging the two distinct tendencies, where the quotidian nestles in the lap of the grand narrative of painterliness marks him out. The stylist in him gives life to a style that underscores disequilibrium. His more recent works have become less wrenched by signs of aggression but preserve his penchant for subversive imagery.