Generations of artists who have extracted their subject-matter from everyday life have given us new insights into the human condition. The do-it-yourself anti- art movement has fall by the wayside. While information technology has put all demarcation under threat, it cannot force us to close your eyes to the reality around us. No matter how small and seemingly insignificant they may be, facts are incontrovertible. In a perpetually changing scenario these may appear but briefly on the horizon and jet have an imprint on the inquisitive mind deep enough to re-kindle our faith in art. Chander Parkash,who hails from a remote village in Udhampur district of Jammu province ,has his BFA in sculpture from Jammu University .For a considerable time he keep himself pre-occupied with such themes as the never-ending struggle of the common people for the barest necessities of life, the miserable plight of pavement dwellers, and the indignities inflicted on women. But the conviction that human faith and self-respect can survive the worst disasters inflicted by nature or man brought to Parkash’s creative vision element of myth and legend. To achieve this he uses a variety of materials like wood, stone, cement, Iron, Terracotta and Fiberglass etc. But there is always a tight control over the medium; he does not allow himself to be carried away by their distinctive properties. His rural back ground bestows upon him an innocence which may not be recognized at first glance .But which reveals itself gradually to the viewers .his creative process which remain meditative throughout suggests that he is out to enjoy life in all its variety, though that delight is overpower by his deep concern about human relationship .His figure submerged in their latent pathos, suggest his nostalgia for beyond days when warmth and intimacy enriched human life. The sentiment of isolation is reflected in the number of works even through the figures and placed in group. Whisper is one such sculpture where, in spite of the delightful smile on the face of the women there is strength lack of communication between the two person .A horizontal bar pierces the head in an unexpected manner. In the work called The Bus, the seated figurines ,devoid of face ,make us aware of the fact that we have lost our identity .The suggestion of motion has been deliberately avoided to enhance the inner stillness in the souls of the passengers. Despite the slight gestures of a few in the group, the overall effect is that of unbroken calm. Even while anchoring upon the most intimate relationship of a couple ,the nightmare of everyday realities haunts Parkash,as we observe in the work called Honeymoon, two sleeping figures are placed on a very fine carved wooden cube with a grilled window at the head .The heads of the couple are painted in different colors-the male ,brown and the female ,white .From the neck down the two forms are covered by heavy block of wood .Carved and roughly textured .The cube on which these figures rest has also been covered here and there with dabs of bright paint .But the most intriguing element in the sculpture in the lamp-like form which hangs over the heads of the sleepers as if to disturb their slumber .Does it suggest a nightmare still to come or one hovering over their subconscious? In a kindred work, Sleeping People, a group lies motionless under a presumed street light .Interestingly the dark half on the lamp shade hangs ominously over the frail human beings sleeping under it. The figures are sprawled uncomfortably on an old, roughly carved slab of wood. The feeling of disturbed solitude is also reflected in works like Two Tire A/c, in which a thin elongated figure hangs horizontally from the upper bar of a heavy wooden frame. Modern times seem to be entangled in the monstrous jungle of science and technology .Moving from the tranquility of a Jammu village to the pandemonium of metropolitan city -life ,Chander Parkash feels the shock and weaves a poetic veil of myths and legends around himself .One may ask to whether allegories and parables have any relevance to our troubled time. Whatever our response to that question, the fact remains that man’s quest for some form of spiritual solace remains unappeased. RAC.shows a king and queen lying by side on the upper berth of a night train. The lamp placed slightly askew at the feel is suggestive of fading light .The artist has more to say in sculptures like Migration in which a dignified head is perched on a partially carved, slender timber scant with floral motifs carved here and there. This is pierced on one side by twisted metal arrow. ‘from the other emerge a number of fish like forms poised to float into the space beyond .This metamorphic movement is indicative not so much of decay as of optimism .Resemblances of the head to that of an ancient Egyptian king is more totemic then mythical. Toy Seller, another work in the same category, is different only in t
Awards & Honors: 2015 ,Excellent sculpture award Fuzhou China. 2010-J&K Cultural Academy Award for sculpture. 2007, International Award for Best wood Sculpture, Switzerland. 2006, International Award for Stone Sculpture symposium Israel 2004, Residency Programme (The Bag Factory) South Africa for three month. 2004, J&K State Academy award for Sculpture. 1999, AIFACS award for sculpture. 1998,J&K State Academy award for sculpture. 1997, J&K State Academy award for Sculpture. Scholarships: 2000-2002, Junior Fellowship, Govt. of India Ministry of Human Resource Dept. New Delhi. 2001-2002, Lalit Kala search grant New Delhi. 1998, AIFACS l Scholarship New Delhi. Exhibitions: 2020.Solow exhibition in Vis-à-vis art gallery Baroda . 2020, Solo exhibition in Hutheesing visual art center, Ahmedabad . 2020,group exhbtion Online show Mrinmoy art gallery Bangladesh . 2019.Group show New Delhi By Vis a Vis studio Baroda 2018 Baroda March group show in New Delhi . 2019.Group show in Kochi Biennale Kerala by Vis a vis studio Baroda . 2019,Group show in Ahmedabad India . 2016 .Group show in Jammu University 2015,Vadfest .Baroda 2014,2015 China International sculpture Exhibition in Fuzhou. 2010-Group Show Hassa Museum Korea. 2010-Group Show Amar Mahal Museum Jammu. 2009-Solo Show Kala Kender, art centre Jammu. 2009-Grass Roots gallery Canada. 2009-Group Show, Faculty of fine arts Gallery Baroda 2008-Group Show,Lalit kala Academy New Delhi. 2007, International group show Morges, Switzerland. 2007, Harmony Show-Mumbai. 2005, Two Men Show, Jammu airport. 2005, International Feb. Show Baroda. 2004, Group Show (Art for Vision), New Delhi. 2004, Group Show (Women) Radisson Hotel Delhi 2004, Group Show (Feb. 2004) Baroda. 2003, Solo Show (Art Heritage) New Delhi. 2003, Harmony Show Mumbai 2000, Solo Show, Abinav Art gallery Jammu. 1999 Group show, Art with Heart, Hotel Oberoi, Delhi. Camps & Symposium: 2019,Misk International sculpture symposium Saudi Arabia 2019.National iron scrape sculpture symposium Surat India . 2018 China. Zhangzhou International sculpture exhibition. 2017 Wangzhou China extant sculpture awards 2018,Scrape iron sculpture symposium Surat India 2018,Kunmlng sculpture exhibition China 2018 National sculpture camp in Kerala India. 2017 International sculpture symposium in Armenia . 2017. International pro/Art sculpture symposium Ukraine 2017,1st International sculpture symposium Wenzhou China 2016.Horice sculpture symposium Czech Republic 2016.International wood symposium in Germany . 2014- 2015.International sculpture symposium Fuzhou China 2014,International sculpture symposium Kenya 2014, 3rd world sculpture Conference China. 2014,International ceramic sculpture symposium China. 2014International Wax festival in Thailand, 2013,6.International sculpture symposium,Moritzburg Germany, 2013, All India Sculpture Symposium ,Rohtak India 2013, All India Sculpture Symposium ,Orissa India 2012.International sculpture symposium for wood Turkey. 2011.All India Sculpture camp .Jammu India. 2011.All India Sculpture camp .Srinagar Kashmir India.