Abir Karmakar's primary intention is confessional. He lures the viewer into a secluded world where attitudes of homoerotic desire are performed before our gaze. The domestic space or the lurid hotel room becomes for a brief period of time a stolen habitation.
Let us briefly compare his paintings with the larger body of contemporary painting which tends to move up and out, from the private to the public domain, assuming a powerful masculinist view of cities, building sites, symbols of growth and the urban landscape in transition. The artist-to-subject engagement appears to be grounded in responses to mediatic information, global economy, social discourse. In contrast, among his male confreres, Abir Karmakar appears to move in and down, into a psychological space, a miasma of sexual fantasy and personal expressivity. While the (sexual) confessional photograph has gained currency – the deliberated sensuosity of oil painting delivers images of psychological abjection and sensual assertiveness.