Acrylic on Canvas
150 x 240 cm
Kiran Manandhar’s paintings show the artist’s sense of time. I have studied Kiran’s paintings over a period of nearly three decades during which time I have carefully followed their dynamism and the invisible lines that show a unique consonance of abstraction and realism. Kiran Manandhar has adopted different forms in his experimentation in his art. I recall the early Mandala phase of his paintings as very important because that has an enduring effect on his paintings. The mandalic motifs that looked conspicuous in his early phase impressed me especially the artist’s delineation of the circular, triangular and square shapes. Kiran in a sense was philosophically guided during that phase. The paintings that he executed at that phase present both the iconicity and philosophy inherent in the mandalic art. Kiran also continued to use other modes in his art. I wrote reviews of nearly all of those phases. They include the overt use of the techniques of Chinese and Japanese paintings. But I have written that Kiran Manandhar maintains a mediated and carefully exercised formalism in his practice as a painter.
