ARJUN SHIVAJI JAIN
Arjun Shivaji Jain received a Master of Science in Physics from the Indian Institute of Technology in Roorkee, Uttarakhand in 2014, and a Post Graduate Certificate in Art and Science from Central Saint Martins of the University of the Arts in London in 2016. Recipient of multiple scholarships and fellowships instituted by the Department of Science, Govt. of India, and having worked at the Indian Institute of Technology and National Science Academy in Delhi, and the National University of Singapore, he has assumed various disparate roles over the years (including, but not limited to, waiting tables, invigilating galleries, housekeeping, gardening, felling trees, & teaching).
Self-published and well-travelled, he is serving at present as the first Young Companions' Representative of the Guild of St George, UK, whilst working, in a personal capacity, as a visual artist. He is proprietor of the John Ruskin Manufactory and Red House in Delhi, where he currently resides.
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Arjun Shivaji Jain received a Master of Science in Physics from the Indian Institute of Technology in Roorkee, Uttarakhand in 2014, and a Post Graduate Certificate in Art and Science from Central Saint Martins of the University of the Arts in London in 2016. Recipient of multiple scholarships and fellowships instituted by the Department of Science, Govt. of India, and having worked at the Indian Institute of Technology and National Science Academy in Delhi, and the National University of Singapore, he has assumed various disparate roles over the years (including, but not limited to, waiting tables, invigilating galleries, housekeeping, gardening, felling trees, & teaching).
Self-published and well-travelled, he is serving at present as the first Young Companions' Representative of the Guild of St George, UK, whilst working, in a personal capacity, as a visual artist. He is proprietor of the John Ruskin Manufactory and Red House in Delhi, where he currently resides.
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WOMAN | 2022
She I
Acrylic on Canvas
3'x4'
3'x4'
She II
Acrylic on Canvas
3'x4'
3'x4'
I can write, of course, tomes upon tomes of what I think about women - about Woman. She has inspired - and continues to inspire- all manners of births and deaths. She is an ocean, and she is Earth — she is everywhere — and all pleasure, making life worthwhile, is contained within her.
I do not think I can tire of these ever. Many more to come.
I do not think I can tire of these ever. Many more to come.
Two in number
WOMAN | 2022
Two in number
She I
Acrylic on Canvas
3'x4'
3'x4'
She II
Acrylic on Canvas
3'x4'
3'x4'
I can write, of course, tomes upon tomes of what I think about women - about Woman. She has inspired - and continues to inspire- all manners of births and deaths. She is an ocean, and she is Earth — she is everywhere — and all pleasure, making life worthwhile, is contained within her.
I do not think I can tire of these ever. Many more to come.
I do not think I can tire of these ever. Many more to come.
ARCHITECTURE | 2020
The Seven Lamps of Architecture
Oil on Canvas
5'x3'4"
5'x3'4"
In architecture have I finally found a sufficiently satisfying endeavour — where I can be an artist as also a scientist. Indeed, buildings are really sculptures to me.
This, my largest piece to date, is a tribute to my spiritual guide John Ruskin, by the light of whose Seven Lamps I attempt to build everyday.
This, my largest piece to date, is a tribute to my spiritual guide John Ruskin, by the light of whose Seven Lamps I attempt to build everyday.
One in number
ARCHITECTURE | 2020
The Seven Lamps of Architecture
Oil on Canvas
5'x3'4"
5'x3'4"
In architecture have I finally found a sufficiently satisfying endeavour — where I can be an artist as also a scientist. Indeed, buildings are really sculptures to me.
This, my largest piece to date, is a tribute to my spiritual guide John Ruskin, by the light of whose Seven Lamps I attempt to build everyday.
This, my largest piece to date, is a tribute to my spiritual guide John Ruskin, by the light of whose Seven Lamps I attempt to build everyday.
One in number
LONDON | 2016
Renunciation
Graphite on Paper
1'10"x 1'3"
1'10"x 1'3"
Solitude, if I must thee accept
Watercolour on Paper
1'10"x 1'3"
1'10"x 1'3"
The Tremble in the Soul of an Idealist
Watercolour on Paper
1'10"x 1'3"
1'10"x 1'3"
Philosophy
Watercolour on Paper
1'10"x 2'5"
1'10"x 2'5"
These were all done in London, where I'd moved to pursue a degree in the relations between art and science. In actuality, I'd started writing Romantic poetry instead, and walking every weekend about the poet Keats' Hampstead Heath. The year was marked by significant feelings of loneliness - though I'd made many a good friend.
I'd decided, at the end, that I could no longer handle formal education anymore - and withdrawn. With feelings of patriotism at their height, I returned to my homeland.
I'd decided, at the end, that I could no longer handle formal education anymore - and withdrawn. With feelings of patriotism at their height, I returned to my homeland.
Four in number
LONDON | 2016
Four in number
Renunciation
Graphite on Paper
1'10"x 1'3"
1'10"x 1'3"
Solitude, if I must thee accept
Watercolour on Paper
1'10"x 1'3"
1'10"x 1'3"
The Tremble in the Soul of an Idealist
Watercolour on Paper
1'10"x 1'3"
1'10"x 1'3"
Philosophy
Watercolour on Paper
1'10"x 2'5"
1'10"x 2'5"
These were all done in London, where I'd moved to pursue a degree in the relations between art and science. In actuality, I'd started writing Romantic poetry instead, and walking every weekend about the poet Keats' Hampstead Heath. The year was marked by significant feelings of loneliness - though I'd made many a good friend.
I'd decided, at the end, that I could no longer handle formal education anymore - and withdrawn. With feelings of patriotism at their height, I returned to my homeland.
I'd decided, at the end, that I could no longer handle formal education anymore - and withdrawn. With feelings of patriotism at their height, I returned to my homeland.
TRANSITION | 2015
Cotton Fields at Sunset
Charcoal on Paper
1'3"x 1'10"
1'3"x 1'10"
An in-between drawing. I had decided to move on from the sciences - physics and mathematics - towards philosophy and poetry and painting. The future felt at once enlivening and frightening.
This was inspired by Van Gogh's wheat fields.
This was inspired by Van Gogh's wheat fields.
One in number
TRANSITION | 2015
Cotton Fields at Sunset
Charcoal on Paper
1'3"x 1'10"
1'3"x 1'10"
An in-between drawing. I had decided to move on from the sciences - physics and mathematics - towards philosophy and poetry and painting. The future felt at once enlivening and frightening.
This was inspired by Van Gogh's wheat fields.
This was inspired by Van Gogh's wheat fields.
One in number
STUDIES | 2009-14
The (In)Significance of History
Ink on Paper
2'5"x 1'10"
2'5"x 1'10"
Water, Water, Everywhere, nor any Drop to Drink
Ink on Paper
2'5"x 1'10"
2'5"x 1'10"
Metamorphoses of Interpretations
Ink, Acrylic, Watercolour on Paper
1'10"x2'4"
1'10"x2'4"
Flight by Nightfall
Ink, Acrylic, Watercolour on Paper
1'10"x2'4"
1'10"x2'4"
When the Levee Breaks
Ink, Graphite on Paper
1'10"x 1'7"
1'10"x 1'7"
An Almanac of Understanding
Ink on Paper
1'9"x4'8"
1'9"x4'8"
Here, and There, and Almost Everywhere
Self-Portrait
Self-Portrait
Graphite on Canvas
1"x 1'4"
[Please magnify]
1"x 1'4"
[Please magnify]
Entitled originally the 'Classwork Series',
these are a result of periods of extreme anxiousness and boredom, spread over five years, concluding with a decision to change careers. They mark a desire to get out and start afresh, in the face of an apparently unending need to stay on a bit longer.
The work, mostly of very fine detail, was almost all executed during lectures, I was studying physics when.
these are a result of periods of extreme anxiousness and boredom, spread over five years, concluding with a decision to change careers. They mark a desire to get out and start afresh, in the face of an apparently unending need to stay on a bit longer.
The work, mostly of very fine detail, was almost all executed during lectures, I was studying physics when.
Seven in number
STUDIES | 2009-14
Seven in number
The (In)Significance of History
Ink on Paper
2'5"x 1'10"
2'5"x 1'10"
Water, Water, Everywhere, nor any Drop to Drink
Ink on Paper
2'5"x 1'10"
2'5"x 1'10"
Metamorphoses of Interpretations
Ink, Acrylic, Watercolour on Paper
1'10"x2'4"
1'10"x2'4"
Flight by Nightfall
Ink, Acrylic, Watercolour on Paper
1'10"x2'4"
1'10"x2'4"
When the Levee Breaks
Ink, Graphite on Paper
1'10"x 1'7"
1'10"x 1'7"
An Almanac of Understanding
Ink on Paper
1'9"x4'8"
1'9"x4'8"
Here, and There, and Almost Everywhere
Self-Portrait
Self-Portrait
Graphite on Canvas
1"x 1'4"
[Please magnify]
1"x 1'4"
[Please magnify]
Entitled originally the 'Classwork Series',
these are a result of periods of extreme anxiousness and boredom, spread over five years, concluding with a decision to change careers. They mark a desire to get out and start afresh, in the face of an apparently unending need to stay on a bit longer.
The work, mostly of very fine detail, was almost all executed during lectures, I was studying physics when.
these are a result of periods of extreme anxiousness and boredom, spread over five years, concluding with a decision to change careers. They mark a desire to get out and start afresh, in the face of an apparently unending need to stay on a bit longer.
The work, mostly of very fine detail, was almost all executed during lectures, I was studying physics when.
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