National Desk Research Associate, The New York Times. Database manager for the National Desk. Responsible for preparing articles for editorial review. Associate graphic designer in creation of document presentation for the Times submissions to the Pulitzer Prize. Anthony is a New York based artist who writes on Contemporary Art.

The urban space fascinates Rathin Kanji. It is a triumph of the modernist imagination symbolizing alienation and loss. He views the city as a meeting point of souls bewildered by social and technological changes. Yet, he shies away from the assertion that technological advance, in some way, exacerbates urban misery. This sense of loss is captured wonderfully in the relative absence of the human form in his work. A very strong human presence can, however, be perceived in the deeply personal import of the assembled elements within his paintings.

There is an unusual urban excitement and geometry about Kanji's oeuvre. Works such as Night Watch frequently bring to mind alienation and social collapse as well as the oppressed individual battling the impersonal metropolis. The placing of popular culture references against smooth, warm, luminescent backgrounds is a clue to both external historical circumstances and personal yearning. Kanji is an artist who valiantly defends his private and meaningful art against the onslaught of the meaninglessness unleashed by the collapse of mass experience. Within the confines of his work, Kanji's artistic self is in conflict with the material world, and although there are moments when there appears to be some danger of the artistic self being over helmed, the crisis is averted and its primacy is asserted. This is art born of a profound sense of realism, not suspicion.

For Rathin Kanji, art and society are of equal importance and are inextricably linked. He works with elements that are intrinsic to modern existence and without being, in any way, overwhelmed by these materials uses them to produce examples of transcendent human creativity. His compositions balance colours, forms, textures and elements of mass media to stunning effect and it is this unique blend of art, imagination, inventiveness and originality that sets him apart.

In looking at any of Kanji's paintings, it is this use of material, including digital and silkscreen prints, that the viewer is first attracted to. It is also clear that the individual elements which make up the image have been picked and placed for their aesthetic importance. The placing of each part, each panel, is influenced by that part or panel. It is entirely organic and spontaneous although the effect conveyed is that of structured pre-determination. The lucidity and unity of each piece is, thus, dependent on the fortuitous nature of that piece. Arguably, it is for this reason that one of the greatest pleasures of these images is in envisioning the process of their creation. In reconstructing this process, the viewer can enjoy not just the references of each element but also the sense of integrity in their congress within the whole.

Kanji's previous works brought a new dignity to the ephemera of everyday existence. These conveyed a deep moral message: there is no such thing as 'rubbish'. Anything discarded, damaged, broken and outdated could be assembled or integrated into something visually appealing. The social and political implications of this belief are, of course, profound. The artist feels that the modern world is a chaotic place and by using the fragments of this world he can contribute to the building of a better, more sincere culture.

Kanji's earlier works are somewhat lugubrious and uneven. In contrast, the more recent paintings are clever, crisp and refined as well as brilliant in their utilization of colour, although a tad limited in their palette. They are more improvisatory, somewhat sculptural in nature and have much greater visual richness and depth. The absorption of mass media has not stopped him from paying homage to the old masters or finding a more humanist direction. Although there is a subtle hint of playfulness and irony, none can deny the clearly discernible purpose behind his art.

The use of text, isolated words and numerals is not merely a compositional element in Kanji's oeuvre but has an associative significance to the theme of his art and contributes to their realism. In works such as Conflict on Raid, which are lyrical and poetic, there is a veiled connection between the words and the relevance of those words. Kanji is, however, first and foremost a painter and his perceptive insights into the nature of language and its importance are primarily directed towards characterizing the purpose he is seeking for his art. In doing so, he introduces into his work elements which transform its function. This is why it is difficult to approach his oeuvre via the orthodox explanatory method or mere aesthetic investigation.

This is art which incorporates metaphors, symbolism and reality. Kanji's work initially takes shape at the aesthetic level of consciousness and then moves to the intellectual. The combination of the two then unlocks the third vital component: emotions. He is able to combine his skills as an artist and his experiences as a human being to convey to the viewer his hopes, dreams and fears about the state of the world. There is serious concern here for the craft and process of image making as is apparent in Call for Tender. He is forever pushing the boundaries of painting from its processes and techniques to its expressive possibilities. It is intense, intricate and minimalist.

While no artist can ever really be categorized, the influences on Kanji's work are varied and worth taking note of. The incorporation of autobiographical and pop culture references bring to mind the creations of such twentieth century masters as Scwhitters and Rauschenberg. Yet, his oeuvre is deeply personal. He seeks to weave what he considers important into images which, without specifically meaning to do so, convey deep political and social messages. He is haunted by the twin spectres of ecological and cultural destruction and it is no surprise that these very private fears resonate to so great an extent in his work.
Kanji is, in a sense, also an historian of our times. He recognizes the narrative potential of his art and combines high formal values with a novel form of social history. His art is visual poetry, an intrinsic social metaphor, at the heart of which lies the concept of turning nothing into something, seeking and finding cohesion in disparate elements, taking a stance on what matters most. One such painting is Our World where the conundrum of existence astounds him and it is this which he tries to understand through pictorial means. His art can be read in the manner of watching a street scene: eyes progressing from one point to another and eventually comprehending the whole. This is also true of his video installations where he establishes an environment in which the viewer too becomes part of the creative process.