Economy of Ecology and Politics of Resistance by Manan Shah

In Odia culture, nature is revered as a manifestation of God, to be protected from evil. Given the agrarian vocation prevalent in the region, farmers often perceive natural calamities as a form of punishment from supernatural forces. The visual arts of Odisha have historically been rooted in folk traditions, where imagery closely reflects the relationship between humans and mother nature. This connection is evident in the artistic practices of the region, which are deeply influenced by everyday life within the socio-cultural milieu. The elements that populate the region's folk art continue to influence contemporary artists. Satikanta Samantsinghar (b. 1991) is one such artist, whose work is a rich tapestry woven from three distinct threads: his early immersion in agrarian life, a contemplative period spent near Chilika Lake, and a reconfiguration of traditional crafts—all of which have profoundly shaped his creative vision.

Samantsinghar's focus on ecology and migration is deeply informed by his firsthand experience of the deteriorating wetlands in Odisha. Living near Chilika Lake, a crucial wintering habitat for South Asian migratory birds, he has witnessed its gradual transformation. His artwork delves into the complexities of bird migration, both longitudinal and altitudinal, demonstrating the perilous journeys these creatures undertake. In The Dim Lights for Birds at Night (2020), a shark is placed on the brink of a barren land, with birds feeding on black water. The fragile tree with a few leaves evokes the ecological and migratory crises plaguing the region. Samantsinghar poignantly equates bird migration to a game of chance, marked by uncertainty and formidable challenges like extreme weather, exhaustion and starvation.
By incorporating organic materials such as tea leaves and palm leaf into works like Sparked a War (2021), Burning 1998(2019), and Coastal Warrior (2023), Samantsinghar imbues his canvases with natural pigments, creating depth and texture. These multimedia works act as powerful catalysts, amplifying the artist's urgent message about ecological challenges. The transition from a balance between flora, fauna, and humans in folk arts to the lopsided overview of urbanisation and development in current times informs Samantsinghar's work. He plays a pivotal role in Odisha's contemporary art scene, actively engaging in preserving and promoting the region's ecological and topographical heritage. His art, rooted in the innovation of traditional artistic ethos, remains acutely aware of contemporary environmental disruptions.
The exhibition “Nilambu: The Body of Blue Water”, presented by Nine Fish Art Gallery, Mumbai, offers a multifaceted exploration of Samantsinghar's artistic practice. To mention with a special focus on the water, which constitutes one of the five elements of nature i.e. earth, water, fire, air, and space, For Samantsinghar, the liminal space of water serves as a repository of life and impending death, urging viewers to reconsider consumption habits and reevaluate previously overlooked issues. By presenting water as both a life-sustaining force and an element of futility, he encourages viewers to contemplate the economy of ecology and politics of resistance.