Art for Social Transformation

Visthar was breaking new ground in exploring the use of Art for social transformation. C.F. John an artist and a staff at Visthar spent well over a decade in exploring Art for Social Action. He spear-headed Visthar’s commitment both to art but much more to its transformative scope in the lives of individuals and community.

Spending time with indigenous communities in Kerala he produced a series of paintings that were translated into a calendar in the year 1992. “From the Nether the Ceaseless Dance: Exhibition of Paintings on the Perceptions and Life of Indigenous Communities” was born from his study.

Addressing the Babri Masjid riots John created a three dimensional art space called “The Spiral” through which viewers could walk through, and struggle with questions about God, spirituality and relationship with others. “The Silence of Furies and Sorrows: Pages of a Burning City” came out of time spent with people affected by riots in Bangalore. John, with five artists and a dancer, created an installation, a temporary art exhibit, to revisit the grief and struggle of the people affected by the violence. C.F. John’s installations question the modern market and permanence of order. The installation cannot be bought, nor taken away. The only way to preserve it is in the memory of the viewer, and in photographs. “Sacred Groves”, “Territiory”, “Plastic Patriotism”. “Reviving Water Sources” are some of the campaigns that John, along with artist friends, carried out.

“Walls of Memories” brought women and children from neighboring villages were wells had dried up to the dry wells at Visthar.Through paintings, dance and photographs the John, Aziz T.M., and Tripura Kashyap captured the dying of wells, the extensive use of commercial water, and the hope of reviving wells. Art took on a new meaning in his installations and participatory exhibitions. Art is no longer a luxury of the elite, but an expression of the common person. The canvas is no longer on an easel but in everyday life and living.