Kundalini: The Union of the Divine

 

Earlier this month, Ali Adil Khan invited me to the inaugural of an exhibition of the works of Youngo Verma (1938-2015). The exhibition Kundalini Union of the Divine is at the Art Gallery of Mississauga. In Canada, Youngo Verma remains largely unknown except amongst the South Asian community in the Greater Toronto Area (GTA). Ali and Deepali Dewan of the Royal Ontario Museum have played an important role in getting recognition for Yongo’s art. 

(For earlier coverage on Youngo Verma in GAB, click here: Youngo Verma).

Ali, who is an art writer, in addition to be a curator, says in his introduction to the artist, “Youngo lived and worked in solitude in his Mississauga studio for over 30 years, creating a large body of work that examines and explores the notion of Tantra and its connection to Cosmic Energy.” About the exhibition, he says, “Kundalini: The Union of the Divine presents three distinct and important periods and genres of Youngo’s art. His early figurative drawings completed in Germany in the 1970s that remained with him until his death and have never been shown before. These remarkably innovative drawings explore the notion of duality, as it depicts alien human figures, grounded yet having wings, with vibrant forms of energy emanating from them.”

For the uninitiated yet interested, let me quote Jan Solis on Kundalini. Solis is an author who has written extensively about ancient Hindu practices. She says, “Kundalini refers to that dimension of energy within a human being that is yet to realize its potential. It is a yoga practice and those familiar with it characterize it as the energy that resides at the base of the spine, coiled like a snake and summoned to rise through the chakras to the crown chakra at the top of the head.

Kundalini yoga teachings have been influenced by Shakti and Tantra. Awakening of the kundalini energy is accomplished through regular performances of meditation, chanting mantra, pranayama (control over breath or life force), and yoga asana. Part of the purpose of kundalini practice is to raise your own level of awareness of your entire body. Among the many benefits, kundalini yoga is said to free us from our karma and to help us gain an understanding of our life’s purpose (dharma).”

{Ref: Kundalini: The Kundalini Awakening Guide for Healingand Unlocking Your Spiritual Power (Yoga, Chakras, Mudras, Meditation)}.

Youngo’s work has gone through several phases, and the most evocative phase was about 15 years before his death, when he began drawing on graphite paper organic abstract forms representing cosmic energy. The most impressive of these geometric shapes depict Shakti, the female form. Often, there is little to differentiate between two drawings, but that miniscule variance is critical.

A pleasant surprise that evening was an impromptu dance performance by artist Asma Mahmood. 

Images: http://artgalleryofmississauga.com/YoungoVerma_web.pdf

Youngo Verma (1938-2015)

I met Youngo Verma only once – at the launch of Picture House – The Art of Bollywood that Ali Adil Khan and Asma Arshad Mahmood curated in 2011.

Ali introduced me to him, and we exchanged pleasantries over a glass of red wine. In his flowing white beard, the diminutive artist, seemed out of place in the gathering that was a mix of art lovers, connoisseurs, and critics, with a few charlatans and poseurs thrown in for good measure.

Then, in 2012, Ali curated Youngo’s exhibition called Cosmic Energy and Tantric Enlightenment. This was the second exhibition Ali's South Asian Gallery of Art had organized of Youngo’s works.

Along with Ameena Chaudhry analyzed Youngo’s work for the exhibition’s catalog.

“Youngo Verma’s drawings examine the complex phenomenon of cosmic energy. What is cosmic energy and how can we tap into it? How are cosmic energy and individual creativity related? Will exposure to cosmic energy heighten one’s consciousness and personal creativity? What insight can be gained from an artist’s interpretation of cosmological questions? Youngo uses lighter pointillism in the centre of darker pencil work – this interplay is the magic of his artistry. He plays with our perceptions of forms – it is hypnotic and expressive – the work standing out distinctly for its chastity and austerity. Youngo subconsciously succeeds in manipulating the medium to create an illusory, three-dimensional almost palpable feel compelling the viewer to reach out and touch. His soothing Tantra-inspired simple graphite drawings evoke a sensitivity towards both the sculptural outward form, and the inner essence of a though process of movement and stillness.”

Youngo died in January, and Ali organized a celebration of his life at the Royal Ontario Museum in February.

It was a quiet program attended by guests probably handpicked by Ali and Deepali Dewan of Royal Ontario Museum. Dewan gave an evocative insight into Youngo’s work that ROM acquired (Tantra #21,pencil on paper, 1981), emphasizing upon its roots in Indian epic and folk traditions.

She said that perhaps the staid Canadian art market is not yet prepared for artists from the subcontinent such as Youngo who are seen as radical; and perhaps that was the reason why Youngo didn't get the recognition he deserved.

Ali gave an insightful background of Youngo’s journey as an artist. Youngo learned from masters such as BC Sanyal and KS Kulkarni. He taught at Jamia Millia in Delhi, and then moved to Germany in 1971 to work under Michael Croissant. He moved to Canada in 1981, and had made Toronto his home. 

Asma Arshad Mahmood, the curator of Promenade Art Gallery, recalled her many interactions with Youngo in a touching tribute. Other dignitaries also spoke.