The current show is remarkable for its extension of a dark vision, to cover a universal human inner climate. Although the source of the imagery in Ratheesh's paintings is invariably Indian, its implications are now wider. The nightmare no longer refers to one specific country. It envelops us all. In Green Pond, a row of squatting men are defecating, their excreta filling up the empty craniums of another series of men, thereby gifting them a dubious set of ‘brains’. These in their turn pass on the gift to the next row of squatters, and so on. It would appear that in a world where transmission of information and intelligence has been corrupted beyond belief, the larger number of recipients are helpless, having no option but unquestioningly to accept what’s poured into them.
Ratheesh's paintings carry a number of unexplainable happenings, bespeaking an inner territory where his private imagery takes over. Before these images there is little to say, we cannot explain them. We are intrigued by them, fascinated by them; and we accept them as we accept all that we do not understand about some of our closest friends. This is the mysterious, private realm that successfully offsets the simple, direct pronouncements in other areas of the work; and this realm may actually be the source from where the extraordinary fecundity that is everywhere manifest, takes its birth.