The visual language of shape, colours and patterns in abstract art is what stimulates the eyes and the mind. Although there is an absence of objective representation, it is regarded as one of the purest forms of expression. This holds true for Sagar Manandhar’s art exhibition titled ‘Asta Roopa’.

At Dalai La Art Space, Thamel, the artist showcases a series of abstract paintings influenced by Asta Matrika. Through the 13 paintings, Manandhar exhibits the eight matrikas, which is a group of eight goddesses. Also known as the eight ajimas in Nepal Bhasa, they are regarded as the protectors of the city and have a huge significance in Newar culture.

The composition for each painting is unique in terms of the usage of colours and shapes. The artist also uses religious and cultural motifs like vahana (vehicles) of the goddesses to represent eight different deities. It is almost like the artist has left breadcrumbs for the audience to interpret his artworks as closely as his vision.

For instance, the painting which depicts Brahmani (Paskiwah Ajima) has a slightly identified figure of hamsa (swan) at the bottom of the painting. Swan is the vahana of Brahmani. Similarly, a fiery bull, a graceful peacock, a magnificent elephant, a fierce lion, a wandering spirit like figure and the legendary garuda, which are the vahanas of Goddess Maheshvari (Mhayepi Ajima), Kaumari (Lunmari Ajima), Indrani (Luti Ajima), Varahi (Fibwa Ajima), Chamunda (Kanga Ajima) and Vaishnavi (Nai Ajima) respectively can also be identified if one keenly views the paintings.

Another thing that was strikingly similar in all of the paintings is the movement of colours, which looks free-flowing yet concocting into a certain shape. Even the vahanas were covered with cylindrical shapes. Only a keen observer will be able to decode their presence.

These almost seem like a Nepali version of Where’s Wally?, a British series of children's puzzle books where one is supposed to spot Wally, among many characters in a cluttered illustration. Except, in Manandhar’s artworks, the audience needs to look for motifs to identify which goddess has been represented in a particular painting. 

The paintings of Asta Matrika, however, isn’t just about spotting the deities’ representation. The cylindrical shapes that flowed through each painting spread on the canvas like a fog. It even covered the vahanas. This may symbolise the obstruction of the goddesses’ movements. The goddesses seem to have been restrained from using their vehicles—their means of travel.

This could be a subtle way of representing the current situation of women in our society. Although people have been worshipping goddesses from time immemorial, the space for women has been very limited throughout history. Even in the present day, toxic masculinity and patriarchy have created such an environment for women that they are bound by societal expectations. They are restrained from doing what they want to do and are forced to take a certain direction rather than following one’s own.

Manandhar uses acrylic paint and oil pastel in all 13 paintings. Although they are significantly different from one another, the theme is what binds them together. The paintings look neat as well as ambiguous in its own way, reflecting the artist’s rhythmic talent in brush strokes. The interpretation of these paintings, therefore, can be as free-flowing as the artist’s strokes.

But it is difficult to comprehend Manandhar’s choice in the number of paintings. If the exhibition represents eight ajimas, then what purpose do 13 paintings serve? As the artist does not want to give any input to the audience’s interpretations, it is unclear whether he has repeated certain ajima’s representations, or are the rest of the five paintings about the five Newar patron deities (Ganesh, Kumar Bhairav, Simhini and Vyagrihi), who dance along the eight matrikas at Patan every Dashain? This is yet another puzzle for the onlookers.

In abstract art, artists usually rely heavily on shapes, textures, lines, forms and even colours. This can be often overwhelming to the audience. It is like an outsider looking in, trying to understand an inherently personal journey. But in Manandhar’s paintings, the audience can interpret according to their own experience—the artworks open up to everyone who is keen to observe and engage.

The exhibition will be on display until January 31st at Dalai La Boutique, Thamel.