Painter Chetan Bhakuni’s studio practice comprises drawings, paintings and animation. He uses autobiographical narration as an exploration of identity, a means to depict a complex relationship with his mother and as a vehicle to express the ideal form of his work. His paintings address notions of societal suppression, feudal mentality and domestic violence.
In this interview, Chetan opens up about his creative journey and how art serves as a medium for expression. Watch the full conversation on YouTube.
Chetan's works will be on display in Delhi and the UK for our project Fragile Strength. Fragile Strength is a unique initiative bringing together artists, mental health advocates, and community voices to explore the nuanced facets of male vulnerability and resilience.
Q: How did you first get into painting?
My name is Chetan Bhakuni, and I am a painter. My journey with painting began in 2013. I pursued a bachelor’s degree in graphic design, followed by a master’s in painting. After completing my master’s, I worked as a graphic designer for a news channel while trying to keep my studio practice alive. During that time, I mostly focused on making portraits. Recently, however, I’ve expanded my practice and created an animated film, which is a significant step forward for me.
In my studio work, I often paint myself and my mother in various forms. Initially, I wanted to be a cartoonist or an illustrator. But during my bachelor’s, everything changed after attending a lecture on aesthetics. The professor spoke about Emmanuel Kant’s theories on beauty and purpose, and it left a profound impact on me. That class made me realize I didn’t want to pursue a marketing-oriented career in graphic design or illustration. I wanted my work to have a deeper purpose.
Kant’s ideas taught me that art transcends purpose-driven utility; it exists beyond function. That realization helped me decide to study painting seriously. My bachelor’s laid the foundation, but it was during my master’s program that my artistic identity began to truly take shape.
Q: What was your experience during your master’s program?
The program was unique because there were no assignments—we were graded on a single painting. Weekly critiques with my Dean were pivotal. He had a profound influence on my practice, offering insights that shaped how I thought about art.
It was during one of these conversations that he encouraged me to explore my relationship with my mother. He said, “Your relationship is unique, and though it may seem sad, it holds other psychological dimensions worth exploring.” That’s when I began painting my mother, realizing that much of my background—marked by domestic violence and my father’s alcoholism—had conditioned me in ways I hadn’t fully processed.
Q: How did your family respond to your decision to pursue art?
Growing up, the choice to pursue painting was fraught with challenges. Coming from a lower-middle-class family, the expectation was to choose a practical field like science. My father was strongly against art, questioning its viability. “What can painting achieve?” he would ask.
My mother, however, supported me in her own way. She would say, “Keep creating. Who knows, life might present an opportunity.” But opportunities didn’t come easily. In 2013, I made a bold decision to leave everything behind and focus entirely on painting. It wasn’t easy—especially in a country like India, where art is often undervalued.
My mother struggled with depression during this time, partly due to our financial difficulties and my uncertain career path. She worried about the struggles I’d face as an artist. I used to console her with stories of Vincent van Gogh, comparing his challenges to ours. “What is our struggle compared to his?” I would say, trying to lighten her burden.
Eventually, I went to Ireland to study. Even there, I faced financial constraints and had to take loans. Despite my best efforts, I often felt unseen, unable to fully express myself. But I channelled these feelings into my art, rising above the circumstances as best as I could.
Q: How has your mother influenced your work?
My mother was the most significant influence on my art. She took a deep interest in everything I created, offering feedback that always mattered the most to me. Even now, though she’s no longer here, I continue to talk to her through my art.
After her passing, I stopped painting for a while. But I’ve recently returned to it. My connection with her feels strongest when I paint. Exhibitions and external recognition are secondary to me. What matters most is this ongoing conversation with her, which I control entirely.
Q: Can you share more about your recent art practice?
I primarily work with oil paint because it allows me to spend more time in dialogue with my mother. Recently, I’ve incorporated plaster of Paris into my work, adding a more violent tone. The strokes I create represent the four walls of our family home—walls that hold the echoes of my mother’s life. There’s an unspoken narrative in those strokes, a sense of something unresolved yet deeply personal.
I also created an animated film titled Gita, a project that took me a year to complete. It was an emotionally draining experience. The film revealed thoughts and emotions I’d never spoken aloud, even to myself. After finishing it, I fell into a depression. The feedback I received from viewers was equally emotional; people told me how sad the film made them feel. I’m hoping to showcase it at independent film festivals.
Q: What does painting mean to you now?
For me, painting is not just about creating—it’s about sustaining a conversation. My relationship with my mother continues through my art, even though she’s no longer physically present. As long as I can paint, I’m content. Exhibitions are external; they come and go. But the intimate act of painting, of communicating with my mother through my work, is something I will always cherish. This conversation is what gives my art purpose, and it’s the most important thing to me.
Chetan Bhakuni's work is on display from 10 to 24 January 2025 at the Alliance Française de Delhi and from 15 to 28 February 2025 at The Instituto Cervantes New Delhi.
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