In an interview published in Illustrated Weekly of India in March 1990, artist Madhvi Parekh talks about Manu Parekh, her husband and fellow artist, describing, among other things, his ability to explain various aspects of life to her. “There is one thing which I find very nice about Manu, and that is his ability to explain things in a very simple and lucid manner. Also,” she adds, “in spite of having lived in cities all his life, he is very aware about village life and the compulsion of villagers.”
Village, for anyone familiar with her work, holds a central place in Madhvi’s art. It is the heartbeat of her practice — the village and its people being the mainstay of her work over the last six decades. Recognised as one of India’s influential artists, Parekh is a pioneer in the realm of folk modernism, drawing deeply from memories of her childhood in a village in Gujarat.
“Though confident as a person, Madhvi was unsure about art in the beginning,” says Manu, who is recuperating from a severe leg injury. Meanwhile, Madhvi is busy in the kitchen, preparing masala chai and snacks to go with our conversation. “She’s always happy to avoid interviews,” laughs Manu, adding, “I have to do all the talking on her behalf. Ask me about the dimension of any of her paintings, and I will tell you everything in detail,” he says. Madhvi, on her part, reiterates, “I don’t like to talk much. I have done my work, you can decipher what you have to,” she laughs, urging us to eat well.
Sitting in the couple’s home in South Delhi’s Chittaranjan Park is a calming experience. On the walls of the house hang paintings made by the artist-couple who have been married now for 66 years. “I was engaged to Madhvi when I was 12 years old and she was 9 — [she was] a real village tomboy, full of high spirits, and a rebel at heart,” he is quoted in a 1992 piece published in The Times of India. In another piece, Manu recalls how they exchanged letters before their marriage — Madhvi, he notes, took six months to reply.
Artist Madhvi Parekh
| Photo Credit:
DAG
He has no clear memory of their first meeting nor does she. But both agree that, over time, they have built a rapport — a quiet and unassuming support system in each other. In a world where the institution of marriage often faces strain — marked by growing complexities in relationships, disconnection and irrevocable breakdowns — Madhvi and Manu have navigated their journey with a simplicity that feels increasingly rare to find and observe. “Who doesn’t have problems?” Madhvi says matter-of-factly. “You have to cope; can’t just leave.” Manu acknowledges the complexities of relationships, especially in the times we live in. In his view, what matters most is a man’s ability to recognise a woman’s pehchaan (identity), her talent — acknowledging her beyond the conventional roles of a wife, mother, daughter or sister, letting them truly thrive. Just as much as he may have guided her, he admits that she, too, has been a grounding force in his life and has kept him focused.
Art and marriage
Madhvi Parekh with her artist husband Manu Parekh.
| Photo Credit:
DAG
Having spent time with them over a couple of meetings, it is not difficult to notice how they guide each other effortlessly. Whether it is growing used to each other or having a shared rhythm, they are clearly each other’s home. Back in 1994, The Hindu began a series titled Artist Couples: How They Cope with Art and Life. In the opening piece, writer Anjali Sarkar gave several examples of such couples from the western world who had both benefited and been ravaged emotionally by their respective partners. “Dorothy Pearlstein gave up her painting career in order to support the ambitions of her husband Philip Pearlstein. Edward Hopper’s wife, Jo, did the same,” states the piece. “Spouses and friends have also proved vital in the continued activity of many artists. Almost the entire Abstract-Expressionist movement of the 1940s and ’50s was supported by the wives of the major artists… Mark Rothko’s wife worked as a model to support him… it was a tradition for artists to marry working women.”
Sitting in his room, Manu says with a sense of pride, “Even today, when we speak to each other, I am interested in her point of view. What is she thinking about her work, her art, as a woman? I like to engage, and so does she.” He further adds, “That’s why our relationship is going so strong.” According to him, it’s at a very cerebral level — and yet with utter simplicity — that they talk to each other. “We are artists interested in each other’s work, and our talks are about everything related to our lives together and whatever comes with it,” he says. On her part, Madhvi agrees that Manu is a mentor, friend and husband who first spotted her potential as an artist. “I still feel, I would’ve been a good teacher,” she laughs. While Manu shakes his head laughing, “See, she can gain all the recognition as an artist, but she still wants to be a Montessori teacher.”
Decades ago, when they lived in Bombay — having moved to the city in the early 1960s — Madhvi took a course in Montessori teaching. She loved her interactions with children and was completely taken in by the innocence of their art. Interestingly, her art, while mature in execution, continues to retain a sense of childlike innocence. Fascinated by the art she saw, she began to doodle in her free time at home. “I was the first one to spot her talent,” says Manu, adding that her questions about art during their visits to various exhibitions and galleries — especially in the early years of marriage — fascinated him. “It was the beginning of our deep bond as husband and wife, and art was a major factor connecting us,” he reflects.
Together they have travelled across the world, attended artist residencies and experienced life while managing the day-to-day affairs of domestic life. Through it all, Madhvi credits her husband for guiding her through the numerous lanes and bylanes of various streets in unknown locations. “By myself, I don’t like going out at all,” she says.
Distinctive strokes
Manu firmly believes that what keeps their marriage strong, even after so many years, is the genuine interest they continue to take in each other’s lives. This is especially meaningful, given that both of them are artists. While they do not force their respective opinions on each other’s work, they offer guidance without interference. “Mere dimmag mein, aadha main hoon, aadhi vo (In my mind, I’m half and she’s [my other] half,” he says, acknowledging the depth of their relationship. He admits he never imagined that Madhvi’s recognition as an artist would reach such heights. In his view, she was filling the gap of a folk modernist — there was no one recognised for that ability after Jamini Roy. “I knew her work was different, and I knew that she’d always have my support. What we both didn’t anticipate was how far she’d go and how much appreciation her art would garner,” he says.
Paintings by Madhvi Parekh
He’s observant of her ways, quietly glancing at her when she is working around the house, giving instructions to the staff or just bringing him medicines, notebooks or his sketchbooks. “Freedom,” he says reassuringly, “is so important in any relationship. You can’t tie anyone else [down] according to your whims and fancies. Look at Madhvi,” he continues, “she’s such a strong, confident person. Now imagine, tying a person like her down, taking away her talent. What good would it do to any man if he stifles his partner’s creativity?” Madhvi, too, agrees, that the one constant guidance Manu has offered her over all these years is to keep exploring her individual inclination and interests, a reason why her work continues being so distinctive.
Manu claims that he has no formal understanding of feminism: “Maen kuch zyaada bol nahi paoonga (I won’t be able to say much)… all I will say is that men should stop being scared ofstrong and confident women. They’re excellent company. Also, a woman should have innumerable chances — just like a man does — to prove her worth to herself over and over again.Just back her, she’s already capable of achieving anything on her own.”
Madhvi Parekh: Remembered Tales is on view till August 23 at DAG, New Delhi.
Excerpted with permission from Remembered Tales, a collection of essays published by DAG.
