“RIVER OF EXISTENCE”

Visual Analysis & Composition: In “RIVER OF EXISTENCE,” the canvas becomes a vessel for motion. The composition is likely driven by undulating forms and sweeping curves that lead the viewer’s eye across the surface, mimicking the unpredictable path of a river. Unlike a landscape, this is an internal geography. The artist likely contrasts smooth, glazing layers (representing the surface water) with deeper, darker strokes (representing the depths and the unknown undercurrents).

The square size (51×51 cm) creates a focused, intimate portal. Within this frame, Roy creates a sense of infinite flow, perhaps using a diagonal orientation to suggest that the “river” continues beyond the edges of the canvas. The texture of the acrylics plays a crucial role; one can expect areas of thick impasto that catch the light, symbolising the obstacles or rapids of life, juxtaposed against serene, blended areas representing moments of peace.

Historical Context of the Art Form: This painting resonates with Lyrical Abstraction, a movement that emerged in post-war Europe and America as a softer, more personal counter-narrative to the harshness of Geometric Abstraction. It prioritises the “lyricism” of the brushstroke—the ability of paint to sing and flow like poetry. Roy’s work also draws from the Eastern philosophical tradition of the “river” (Samsara), where water is the ultimate symbol of change and impermanence. By using acrylics, a medium known for its quick-drying properties, the artist captures the immediacy of the moment, much like the water that never flows the same way twice.

The Story of “RIVER OF EXISTENCE” No man steps in the same river twice, for it is not the same river and he is not the same man. This painting is the visual echo of that ancient wisdom.

The story of “River of Existence” is the story of us. The painting begins with a source—perhaps a bright, energetic burst of color at the top—representing birth and the vigor of youth. As the forms wind down the canvas, they darken and deepen, gathering the sediments of experience and memory. There are turbulent swirls where the water fights the rocks, representing our struggles, and wide, calm pools where the color settles, representing our moments of clarity. Debajyoti Roy does not paint the water; he paints the current. He invites the viewer to drift along these strokes and accept that, like the river, life is beautiful because it does not stop.