Still Isn't Still

A SOLO SHOW BY AMIT SRIVASTAVA

The Life Within Still Life

The images that are generally described as “still life” are a treat to watch, as they suggest that the objects, though static, can be moved or shared, passed on to the hands of a friend or family member, or even to a stranger. In this sense, they hold within them a suspended moment, a life momentarily paused, not withdrawn. The term still life thus carries a deeper and broader meaning.

In the history of Western art, this genre is well established and widely taught in art schools and colleges. Any discussion of still life inevitably brings to mind artists like Cézanne, Picasso, and Braque, all of whom painted still lifes in significant measure. However, over time, the practice of pursuing still life as a creative course appears to have somewhat dwindled. In our country, few painters, such as Ara, have truly enjoyed this genre.

In this context, the emergence of an artist like Amit Srivastava, who has devoted his skills to the art form of still life, draws our attention once again to the genre. Interestingly, with a background in engineering as an alumnus of IIT Delhi, Amit has turned to still life with a rare dedication, training himself diligently and honing his creative abilities to bring alive the ‘subjects’ of his choice. Not only objects, but even figures in his works seem attuned to the still-life sensibility, carrying a similar inwardness, a quietude, as though they too are part of a moment that has chosen to remain. In one of the works, the stillness extends to the sky itself, where even the clouds seem at rest.

Traditionally, still life is associated with objects placed indoors. However, Amit has brought some of his subjects into the open, under the sky. His use of light is emotive and often leads the viewer’s gaze, creating a soothing effect while focusing attention on particular elements. In works such as Aspirations, the glow of yellow calla lilies shows a sensitive control of light.

Earthen jars, scattered limes, vases and flowers suggest a familiarity rooted in everyday life. The painted objects in his works carry a sense of grace and warmth. In the work titled Family Ties, this warmth is especially evident.

A strong command over colour, whether in oil or acrylic, is clearly visible. The lush, deep red of the tablecloth, recurring across his works, is noteworthy. Indeed, red tablecloths have figured as a significant element in several seminal paintings in history, such as The Red Room (Harmony in Red) by Henri Matisse and Still Life on a Red Tablecloth by Georges Braque. Frequently seen in still life as a unifying base, the tablecloth lends warmth to what it holds.

Each of his works seems to carry a story, or at least suggests one for the viewer to complete. Thus, his still-lifes, though suspended, remain full of life. They encourage a lingering gaze—where intimacy is immediate, yet it opens into a more meditative space where time loosens its hold, remaining subtly in motion.

Happy viewing.

Prayag Shukla New Delhi
Poet & Art Critic 9th April, 2026