Samindranath Majumdar, working mainly in acrylic, overlays layers of paint to create a porous surface often assuming a watery texture with floating forms, at times resisting the flow with stubborn monolithic grandeur; at other times tearing up from within or catching the inevitable stains of immersion.

The marks that a perennial flow leaves on surfaces and the way it breaks forms at their edges to tear away fragments serve for a powerful visual metaphor for Time in its aggressive operation against forms, both natural and man-made. At one level, the forms strive to retain their history, particularly in the endangered/threatened inscriptions that even as they are blurred away assert the original mastery of the creative chiselThe elongated and conical fragments that float through Samindranath's fluid- fibrous surfaces have a life of their own, retaining their animation even in their fractured suspension; at times even suggesting a battle that these shreds and splinters wage on desperately, refusing to go under, with phallic nonchalance.

Samindranath has an ambivalent stance on architecture, especially in its manifestation as monuments of human triumph and pride, the decaying Ozymandiases. He can admire their grandeur only in their fragility in th stream of time, which n Samindranath's vision, lighter than water, with forlorn monuments surfacing n enormous airy landscapes, caught in strange glows of illumination, the light itself lightening the rigid structurality of the monumental formThe layered permeability of Samindranath's surface serves as a space of history that limits and erodes and maybe even liberates the monuments that can only disintegrate and decay and lose their glory over time, but still retain an aura of their own that they draw from that historical space itself, so significantly pervious and austere in Samindranath's recent works.

Samik  Bandyopadhyay