Mountainous landscapes so familiar to those of us who grew up in the midst of the Himalayas are now enchanting new pairs of eyes in London. A refreshing break from the supra-sophistication of the art exhibitions in the big city, “Shadows of Himalayas” brings beautiful images of simple rural life in Nepal.

Kaluram Tamang, an artist from a rural village in Dolakha, Charikot put his works in disposal for the first time at this solo exhibition in east London that ran from 30th November to 30th January at the Stephen Lawrence Centre supported by its charitable trust.

“There is no doubt that my stunning birthplace in the Himalayan region of Nepal and its gorgeous surroundings motivated me to be an artist," Tamang writes in his artist’s statement. “My effort in the works in this exhibition is to portray the lifestyle, art and culture of my home. The motivation for my work begins in landscape, and at the same time becomes semi-abstract, reflecting the way the landscape changes in infinite variety as it is seen through multiple weathers, atmospheric conditions and seasons. These unpredictable ambiences are the primary inspiration for my art.”

Let us start from the beginning. How did you first get into art?

I used to draw and paint since I was in Grade 3 or 4 and participate in art competitions. I wasn’t even aware back then that I could make a career out of art, or that art could even be studied as subject. I just enjoyed drawing and painting and through self-study had already become adept at portraits and landscapes. My teachers used to get impressed by my skills but I wasn’t allowed to participate in art competitions anymore because I would win every time. They asked me to judge the competition instead!

As I grew up, I met some older friends who used to study fine arts. They advised me to join Lalit Kala Campus of Tribhuwan University which, back then, was the only place you could study art. Despite a lot of competition to get an admission, I managed to be one of the top ten applicants offered a seat there. I completed my IA and started my Bachelors.

Concurrently, I kept painting and contacting galleries for group exhibitions. I also did a solo exhibition at Siddhartha Art Gallery. When I finished my studies, I saw that there was not much scope for me in Nepal and decided to go abroad for better opportunities. I first went to Singapore but I could not study art there because transferring my course and credentials had a sophisticated procedure. So I had to opt for a course in management for visa purposes. Still I managed to take art courses on the sidelines, and continued to paint and seek opportunities for exhibitions.

I collaborated with some students from Singapore Management College for exhibitions. They organised a solo exhibition for my water colours which was very encouraging to me. When I finished my studies there, I returned to Nepal for a few months. But very soon, I applied to study in the UK. Here too I’ve been concentrating on self-study and group exhibitions. This is my first solo exhibition.

I did want to exhibit at a gallery in Brick Lane. However, for a struggling artist, their fee was way too expensive and I had to be responsible for all the organising work as well. This is the case with most commercial galleries. Hence, I decided not to exhibit there. Instead, Stephen Lawrence Centre is exhibiting my work here for free, apart from organising the whole event.

Will you continue with the same style as this?

I used to paint realistic landscapes and portraits but I am starting to explore semi-abstract styles. Majority of the exhibition guests appreciated my semi-abstract water colours. Most of the artwork I sold were semi-abstracts too. Realistic paintings of the Himalayas also sold very well. Looking at the exhibition based on the number of artworks sold, I have to say it was successful than I had expected. I mean, often I wouldn’t be sure how to price my work. Several times people offered to pay more than my asking price.

Your semi-abstract work reminds me of JMW Turner’s paintings. Would you say you are also moving towards increasingly abstract work like Turner did in his later years?

Yes I think we have similar themes. But I don’t want to go abstract all the way yet. Landscapes are still very important to me, perhaps because I grew up in the countryside. My starting point was always the beauty of nature. I am really drawn in by the colors and shapes of flowers and birds. Also because I don’t feel adept enough to tackle abstract work yet. It requires a lot more study than realistic painting, in my opinion, to grasp a concept and translate it visually.

I aim at semi-abstract styles with rural Nepali landscapes and develop my own original style. When you paint something that is familiar to people, like landscapes, but then add unfamiliar and surprising touches to it, it engages people to explore the painting further, to look at things more closely. Viewers can be captivated even if just for a while.

Which artists do you look up to? Please tell us about your influences.

Nepali artists like Umesh Shrestha, Kiran Manandhar and the late Sashi Shah inspired me. I learnt a lot from the art scene in Singapore while I was there and will continue to explore art in London. Singaporean art is largely influenced by Chinese styles. Even the "modern" works take Chinese and Asian art traditions as starting points. I still follow and study the Singapore art scene through the newsletters that the Singapore Art Gallery sends out to emerging artists like me.

What is your favourite medium to paint in?

I use watercolors mostly, but I am starting to use acrylics and mixed media. Watercolors are difficult to preserve. It can be spoilt by water and sunlight, whereas acrylics last a long time. For bigger, commercial works I have to use acrylics and oils. You can make any amount of corrections on oils and acrylics and you can take your time with the painting. But watercolors have to be completed in a short period of time, and you cannot make corrections, just the first,second and last touch.Its more immediate, requires precise techniques and I enjoy it the most.

What was the feedback you got from the London art audience?

They quite liked the landscape paintings of mountains and hills because it is different to the landscapes they are used to. Also, paintings of people going about their daily lives in Nepal, paintings that showcase our culture, rural lifestyles also got positive feedback.There were different people in the crowd, so the response was mixed. People who are well into art themselves appreciate the more abstract and modern work. Most art-buffs in London are into modern abstracts.

What are your plans for the future?

I am planning another exhibition with about a hundred of my works.These will all be smaller in size, in black and white with my pencil and charcoal work. These are also based on Nepalese landscape and lifestyle but will have much more details.

I want to do a few more exhibitions with my realistic and semi-abstract work, so I can build up a strong background. In any art form, you have to build from the foundations first so that when you display your fully realized work later on, you wont be criticized for lack of experience. You have to take some practical steps as well when it comes to sustaining your art.

Hopefully, in 6 months, I will be holding another exhibition in Central London. I have also been offered to exhibit by a charity organization involved with Imperial College.

Did you struggle convincing your parents that you wanted to pursue painting as a career?

Yes, in most rural areas people are not even aware that art is a serious subject of study. When I am in my village, painting outdoors, onlookers often remark: ‘Is this really what you are studying?’ My parents wanted me to be a teacher. When I was studying art in Lalit Kala, Kathmandu, I lied to my parents about my subject when I visited them back in the village. I led them to think I was training to be a teacher because they would not have been convinced that I could make a living out of art.

As you know, it is hard to have financial stability as an artist in Nepal. Only a handful of people are making a living solely through their own art. There are many artists graduating from recent establishments like Kathmandu University. They are supporting themselves through commercial work like design, printing and teaching. I did work as an art teacher in schools so I could finance my own studies.

I also had to work very hard in order to participate in exhibitions and be accepted into galleries. It was a hectic period of my life leaving me very little time to paint. Though it gave me a decent amount, I could never satisfy myself. I felt like I was just surviving, instead of living a real life. I struggled to balance the practical considerations with the artistic drive. Hopefully, someday these financial struggles will be taken over and I get to work without getting occupied.

Did you ever think of quitting art during those struggles?

Not at all, never. Even if I have to pursue it on the side, I will continue to paint. Additionally, I am starting to get the support of individuals as well as organisations, so I don’t think I will ever have to quit. I am living in London at the moment on a student visa and it is uncertain whether I will stay here. I might have to apply somewhere else or go back to Kathmandu. In any case, no matter where I go, I will continue to pursue art.

You left Kathmandu and its art scene about ten years ago. What developments have you seen since then?

Exciting new things are happening. My artist friends seem to be doing quite well there. They have added subjects like photography, filmmaking and other visual arts in Lalit Kala Campus and several art colleges have been established. There are many new spaces dedicated to art as well like museums and galleries. We are accepting new technologies with graphic design and the internet puts people in touch with the international art arena.

However, the political instability of the country is holding back development in all sectors including arts. There is also a culture of nepotism with influential positions in art organisations and other opportunities reserved for their own relatives. This results in ineligible and incompetent people in positions of power. I think art in Nepal is still not free from political stranglehold.

Coming from a village outside the capital, did you experience a rural-urban divide in your career?

Yes, most art resources are concentrated in Kathmandu. This puts potential artists from rural areas at considerable disadvantage when it comes to accessing resources and educating oneself about foreign art forms and techniques. Another issue that concerns me is the compulsory subjects that you have to pass in order to graduate from art school. Many of my classmates, as talented as they were at art, could not get a degree because they failed in English. Nepal could really benefit from at least one decentralised art school in every regional zone.

What would you advise young people who want to pursue art?

Many of my talented artists friends are doing well in Kathmandu. If they find that there is a lack of opportunities in Nepal, I would encourage them to look for possibilities abroad. No matter where you are, you can always stay connected to your country. In fact, being abroad can situate you in a position to help artists back home too.

I have imported many of my friends’ art works to London, and also set up online shops to help them sell their work here. I share with them my knowledge of agencies that host and market art works internationally. Sometimes, I include their paintings when I am commissioned to make a big number of paintings.

I want to assure young artists that there are a lot more opportunities than we think. i have seen many of my peers get into good positions in America and Korea. I would encourage young artists to go for it; hard work pays off in many ways. In art, you can get completely different reactions to the same piece of work you put out. You can get high praise and flattery and also devastating criticisms. It is important not to let either of these reactions affect you too much so that you can retain your integrity as an artist.

For more information and online gallery: http://www.kalu-kala.com