Sudhir Patwardhan has this unique way of observing the urban landscape he lives in. A lot of his work looks at the city through a refreshing lens. This may be attributed to the fact that he was a practising radiologist who doubled up as an artist. Many of us see Mumbai in its mundane daily form. However, if you take a moment to reflect, there are so many stories unfolding within it at any given time. Each of them is jostling for recognition and space but Patwardhan makes all stories feel equally important.
In this context, I find his painting from 1977 titled Irani Restaurant truly compelling. This is one of his earlier works and I first stumbled upon it while working at Time Out Mumbai. I have always been enamoured by this city, so Patwardhan’s painting really drew me in. There is so much fascinating detail to be observed in it.
In the painting, a man sits in an Irani café. He has a burly figure and seems to be dressed in a long and comfortable looking shirt and lungi, but he wears no shoes! He certainly isn’t dressed in the manner of someone working in an office, yet he carries a pen and notepad in his pocket. Everything about him seems peculiar.
There are also many other details that catch one’s eye. From the typical chequered flooring, marble-topped table and washbasin with a coloured tap signifying that the space is an Iranian café, to a number of people reflected in the mirror behind the seated man. Even the detailing on the mirrors is remarkable, as their top panels are painted intricately influenced by European design. The café is bustling with people. It is clearly rush hour, yet this man seems very relaxed with no hurry to be anywhere or do anything.
This painting introduced me to Patwardhan’s work and offered me a glimpse of how he viewed Bombay. It influenced me as I was trying to find my way around the city. On the face of it, it’s just a painting of a man sitting in an Irani café but it’s also so much more.
I love this work in particular because it made me rethink the way I look at the city. It also made me wonder whose portrait it could be. It raised so many questions: Does this person fit into the fabric of this scene? Why are his eyes glazed over? What is he thinking? To me, he looks like a character straight out of a Saadat Hasan Manto novel.
Though it has been 14 years since I first saw the painting, I still feel as curious about its subject today. My curiosity is piqued anew every time I see it. It also makes me feel positive about the multicultural nature of the city in the face of the current landscape we live in.
Many of Patwardhan’s works, and especially this one, inspire and inform my own practice. Observing them creates a desire in me to explore the city more. To observe every moment even if I’m not photographing it. Patwardhan makes a strong commentary on the people occupying this city. He influences the way I see it and them.
Hashim Badani spoke to Noor Anand Chawla
For photographer Hashim Badani, Mumbai is both muse and hometown. Apart from capturing stories of the city, he shoots editorials, travel, fashion pieces and documentaries
Drawing Room is a fortnightly series that gets Indian artists to share their favourite work and what makes it so special.
The views expressed by the artist are personal.
From HT Brunch, May 18, 2024
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