Artists: Battling Corruption, Nepotism and Financial Hardships

Artists in our country lead lives fraught with challenges, rarely highlighted by the media. Corruption and nepotism cast long shadows over their world, creating numerous obstacles. Without financial means or influential connections, many talented artists, both young and old, find themselves struggling against these entrenched issues.

The Harsh Reality of Freelance Artists

Vimal Chand, an artist from Delhi who creates nature-inspired paintings sheds light on a harsh reality: for freelance artists in India, the struggle is immense. "Art is not a necessity for the common man. It depends on the interest of those who want to purchase the work. Interested people will only buy their preferred artists’ work," he explains.

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Vimal further elaborates on the difficulties faced by freelance artists. "It’s not like all freelance artists are able to sell their work. If freelance artists don’t have a stable source of income, they will have difficulty earning a living by just selling paintings for survival. It’s difficult for freelance artists to reach the buyer because the buyer goes to a gallery," he says.

Even hosting an exhibition comes with uncertainties. "Even when you pay and host an exhibition, you can’t still be sure if a buyer would come or not. It depends on how much you have mailed them or informed them; if t

Artists in our country lead lives fraught with challenges, rarely highlighted by the media. Corruption and nepotism cast long shadows over their world, creating numerous obstacles. Without financial means or influential connections, many talented artists, both young and old, find themselves struggling against these entrenched issues.

The Harsh Reality of Freelance Artists

Vimal Chand, an artist from Delhi who creates nature-inspired paintings sheds light on a harsh reality: for freelance artists in India, the struggle is immense. "Art is not a necessity for the common man. It depends on the interest of those who want to purchase the work. Interested people will only buy their preferred artists’ work," he explains.

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Vimal further elaborates on the difficulties faced by freelance artists. "It’s not like all freelance artists are able to sell their work. If freelance artists don’t have a stable source of income, they will have difficulty earning a living by just selling paintings for survival. It’s difficult for freelance artists to reach the buyer because the buyer goes to a gallery," he says.

Even hosting an exhibition comes with uncertainties. "Even when you pay and host an exhibition, you can’t still be sure if a buyer would come or not. It depends on how much you have mailed them or informed them; if they have time, they will respond, but there is no certainty," he explains.

According to Vimal, galleries offer a better option. "If a gallery connects with you and you share your work with them, the gallery will reach out to the buyer, help you sell your work, and you will get paid so you can survive that way. But it’s not necessary that all artists can excel in this," he concludes.

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Insufficient Government Support and Favouritism

Vimal also points out the insufficiency of government support for artists. He explains that the aid provided is minimal and often benefits only a select few. "There are initiatives like Lalit Kala Akademi, which holds its annual show and gives awards for the artists that the jury finds good," he says. However, he notes that favouritism is rampant, affecting the distribution of awards and scholarships. "The grants or scholarships are given to the talented ones, but if some artists have acquaintances on the jury, then preference is given to them also," he adds.

Vimal recounts an incident that highlights this issue. "Even in the Lalit Kala Akademi, one event was cancelled because the jury selected their own candidates for the award. Whoever’s work the jury finds best should be awarded or selected for the exhibition," he asserts.

The Struggle for Studio Space

Another issue Vimal reveals is the struggle for studio space at the Lalit Kala Academy's studio in Delhi. "Lalit Kala Academy has a studio. I believe it is the only one of its kind in Delhi. Many artists and youngsters come here. They do get a workspace," he says. However, senior artists who seldom use their studios occupy these spaces, leaving young, studio-less artists struggling to find a place to work. "A few artists definitely work there who do not own any studios. Meanwhile, the artists who have their own studios but also own a workspace here visit the studios only for informal meet-ups and such activities," Vimal explains.

Jagannath Panda, an artist from Gurugram, shares his journey of overcoming financial challenges and how it has shaped his creative process. "When I moved to Baroda, the financial challenge was big. I struggled with using the right materials and all that," he recalls.

Jagannath believes that struggles with materials and representation are essential for artistic growth. "It’s not about what you’re thinking; it’s about the time you spend exploring different materials, and through that, your creativity grows. That’s what I’ve learned through struggle," he says. He adds, "Every artist should go through this process—not only financial struggle but also struggles with identifying language, building vocabulary of representation of their work, and understanding materials."

Financial Burdens and Exploitation

Aasutosh Panigrahi, a Guinness World Record holder for the world’s largest indoor mural painting, speaks about the financial burdens artists face in creating and exhibiting their work. "The biggest challenge for an artist is the expense involved in creating a painting. To create a painting, a struggling artist has to spend a lot and work very hard," he explains.

He highlights the high costs associated with framing and exhibiting artwork. "Once everything is done and a brilliant artwork is ready, the artist is not able to participate in exhibitions. All the big and grand exhibitions these days require an entry fee, which an artist often can’t afford after pouring everything into creating the painting," he says. Aasutosh also points out the rampant exploitation in the field. "In the name of promotion, people take advantage of struggling artists, make them work hard, and get them overworked. Later, most of them don’t even fulfill their promises," he reveals.

Despite his international achievements, Aasutosh reveals that he still lacks any government support or recognition for his work. "I am a Guinness World Record holder. I made the world’s largest indoor mural painting, breaking both Australia’s record and my own. But we do not get any facilities or opportunities from the government, nothing, no appreciation," he states.

When asked about government recognition after his 2003 record, Aasutosh responds, "No. No one. Nothing at all. Only the media covered it. Nothing else." He explains the difficulties faced after leaving his job to pursue his passion. "If an artist is constantly troubled by hunger, then how will the artist buy canvas and colors? How does he do his work? For everything you need money. There is nothing from the government; the artist has to work hard themselves," he concludes.

Creating Fake Artists

Aasutosh also exposes the manipulation in the art world, where big buyers and dealers create and promote certain artists as brands for financial gain. "They play games with all these big buyers, collectors, and art dealers and tend to create a brand out of an artist," he explains. He points out that many of these so-called brands are not truly representative of artistic talent.

Another artist, Ramesh Kumar, discusses how some artists, no matter how good they are, still need controversy to make people know them. He recounts the story of M.F. Hussain, who became widely recognised after a high-profile incident at a Delhi club. "Some people do such things intentionally to get famous or to get noticed," he says. He describes how Hussain, who often walked barefoot, was thrown out of a club for not following the dress code. "This incident became news. It got covered in the newspapers, and the word spread among the high-class society circles," Ramesh explains.

Ramesh reflects on the nature of artistic success, suggesting that struggles and challenges are essential for artists to achieve their best work. "Art is a field where if the artists are given facilities, they will not do their best. The more struggles artists have in their life, the more problems they have, and if they still overcome everything and do their work, then only will they succeed," he says.

Devidass Khattri another artist we spoke to has a word of advice for young artists. He wants young artists to focus on their journey and embrace the struggles, as true success comes from years of experience and dedication. "Patience… if they work with patience, do hard work, and work with determination, then success is not far away," he advises. "You have to suffer to find your destination; you have to seek it out; the destination won’t come to you," he adds.

Devidass shares his thoughts on government support, pointing out its temporary nature and age restrictions. "All these (grants) are useful only to a certain extent. For instance, I have also received the Garhi grant… I have also received senior and junior fellowships. But it’s only limited to a certain age," he explains. He believes artists should rely on their own efforts and creativity rather than depending on limited grants and fellowships.

"In the vibrant but often unforgiving world of art, the journey of an artist is paved with struggles, determination, and a relentless pursuit of creativity. From battling financial constraints and facing favoritism to seeking recognition without compromise, the stories of these artists reveal a deeper truth. Success in art is not just about talent; it’s about resilience, patience, and the courage to stay true to one’s vision."

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