Silajit’s works are examples, of how pure and silent music can be created, only through use of colours.

The art of Silajit Ghosh is one of exuberant celebration, approximating Abstract Expressionism in all its passion and intensity. The artist handles both oil and acrylic, with an intimate feel for both of the individual mediums, their bodies and shines. But more important is his sensuous experience of colours, whose rugged harmonies have an unmistakably wide and immediate impact.

Though basically, Silajit’s works are based on nature, they are much more than just a landscape. He attains the peak of abstract expressionism by reducing the real and familiar visuals of nature and reaching to the crescendo of an abstract visualization at such levels, where he does not intend just to express the beauty of nature but worship beauty itself.

The particular style of distortion which Silajit has mastered, very clearly makes one realize his concrete confidence in his abilities. His colours are extra-ordinary and these can be termed as “full of intellect”. His powers of creating visual imagery with colours and lines as well as his particular style are commendable. Being a Chartered Accountant professionally, his works are blazing proofs of the power of spontaneous creativity which is not backed by any sort of formal and/or institutional training whatsoever, in fine art.

Though basically his paintings are abstract, hints of familiar nature comes out through combination of fiery and sun-drenched complementary and contrasting hues. Silajit has a very personal and penetrating style. The stream of abstract colour explosions created by Henri Matisse, Paul Klee, Wassily Kandinski, Karel Appel, Jean Paul Riopelle, Kasimir Malevich and Gerhard Richter has been explored by Silajit in his very own inimitable style.

His colours are exotic and defiantly expressionistic. He creates an immense turbulence within his works but simultaneously controls it with inherent geometries. The geometric abstractions of Piet Mondrian and the abstract expressions of William De-kooning, Philip Gusten, Helen Frankentheller and Asger Jorn belong to the two opposite poles, whereas Silajit is the median of the two who goes on creating pure harmonies of colour. A definite “Yogic” base to abstract conceptualization.

Basically, all his works are abstract. But one can unmistakably feel, the apparent presence of nature at an inlaid level. Nature is flooded with light and evokes musical melody and sense of rhythm. Silajit has tried to express that inlaid music on to the canvas, with the language of pure lines and exuberance of pure colours. The resonance of beauty overwhelms him with intense passion, but at the same time, like walking the on the sword-edge, he keeps his calm and controls his outbursts of passion. This very control, in turn, imbibes him with the immense courage to wield his brush at his will. He holds the guts to take enormous amounts of risks, enabling his works to touch one’s inner chords with a feel of intensity which is beyond all definitions.

Silajit Ghosh observes, not just with his eyes but also with his soul deep down. His minimalist compositions appeal at not just the sensory level but strike a much deeper chord. There is a recognition and understanding here of the mathematical basis implicit in aesthetic form. The notion of space and lightness is crucial to the basic understanding of these pictures, where reality and mystery come together to create a surface pregnant with suggestions. At first glance, the works appear primitive even childlike. This however, is entirely deceptive as the illusion of simplicity is used to address basic questions of human sensibility. Ghosh's mastery lies in his unique understanding of the interplay between light and space, colours, layers and textures of paint, which all are used in combination, to further the notion of space. The ambiguity of these images is primal. The effect as intense, as an unfathomable spiritual experience and profound hallmark of the artist’s individuality. The search, born of it, is a metaphysical one, to go beyond what can be felt or perceived, beyond ordinary sensory experiences. The works radiate strong sense of awareness about primary human existence as well as a complete lack of self-consciousness. His aim is definitely, not to withdraw from modern life, but to make an elemental statement. The viewer is left with the overwhelming feeling that the artist has controlled the powers of chance to produce works which convey a blend of purity and openness. This is wonderful and pure artisanship, unblemished by the ideological zeal, which has so often lead artists to misdirect their talents largely devoid of unnecessary play or bold effects. These are the works of certainty and constancy. A unique sensibility takes the place of grandiose ideas or turgid dogma. The vastly laid out spaces in Ghosh’s works, eloquently convey innocence freedom and spontaneity. This sparseness allows him to create works of immense intensity with the most minimal of means. This is not to suggest that discipline is absent in his creative process. Rather, the vitality of expression is untamed but it is not the product of uncontrolled passion. In his works, there is a fundamental affinity between the creative, the natural and the psychological in each image. The artists voice resonates in a muted and subdued scale, but gently convey the eloquence and lyricism of sparseness in a manner which is euphoric, spiritual and seductive creating a wide and immediate impact over the viewer’s inner psyche.

The works of Silajit Ghosh at a glance, look abstract and expressionistic but are not categorically abstract expressionistic. One can almost visualize, the reality or the apparently hidden nature, that he dismantles block by block and reconstructs in pure pictorial terms. There is an internal geometric structure or a skeleton over which, the blocks are placed back again, after being transformed imaginatively. What emerges is visionary order. His colours, are raw and sun drenched. Each work has one that dominates. Sometimes there are a couple. Then, there are also contrasting and complimenting hues which add to the complication of the composition. So here nothing is as simple as it seems at first. There are emotional and even irrational elements present in every work, with a very close-knit interplay between them. The tremendous urges of all these elements, to get expressed onto the canvas simultaneously, are kept under control by the calculated logic of harmonic visual structure. His works are complex process of becoming, rather than a simple and gradual organic growth.