Saurganga Darshandhari uses decorative ornamentation of traditional Nepali paintings and recycles the icons and images of Hindu deities. In the same manner, the structure of Buddhist and Hindu mandalas are reformulated in modern form. She recreates the complex geometric structure using circles and squares. The religious scriptures appear here and there bringing together the visual images and verbal texts. The images of the sun and the moon appear in two corners. Similarly the pagoda temples are recurrent. The border of the circle resembles lotus petals. The structure is formed in such a way that the viewer's attention is led toward centre, where one is supposed to coincide with the principal deity.
Another feature of tradition integrated in her print works is anthropomorphism. The fish and snakes appear in human form or the hybrid form of human and animals. In like manner, the anthropomorphic forms appear magical and mystical. The mother goddesses are depicted with many hands. Both the human and divine characters with round and sinuous limbs exist in perpetual youth.
Mother goddess is her recurrent image. She also depicts the veiled Muslim women implying the suppression and domination. Some of her female figures are commodified. The various agents of patriarchy turning the women apart are exploiting as the things to be consumed. Perceiving such scenario, the women feel awe- stroke and anxiety-ridden. No man looks her as whole entity, but only adores the sensuous parts. The concept of emancipation of women is the undercurrent in her works. As a self defense, the artist projects ahead the image of mother goddess, the symbol of power and fertility.
Saurganga captures unusual objects and stories from her surrounding that give inquisitive feeling to the viewers. Her works attempt to strike a balance between existence and non-existence of life, and past and present while dealing about the women of her time. Despite the use of mute colours, her prints are able to speak clearly and quietly what she has to say. Life, growth, fluidity and rhythm are presented in the images of banyan branches and roots. In addition to the use of subject matters and contents of early arts like sculpture and architecture, her works constantly refer to nature as well. Not only the etching, Saurganga expresses her feeling through installation as well. Sometimes she associates women with the cow, which is worshipped and prayed as goddess but tied and beaten as beast. One of her significant feature is the use of minimum material for the sake of clarity and simplicity.
Saurganga Darshandhari uses decorative ornamentation of traditional Nepali paintings and recycles the icons and images of Hindu deities. In the same manner, the structure of Buddhist and Hindu manda...