“In the domain of Tamojit Bhattacharya’s painting, his language represents an immense shift in our sensibility; the intensities of the sensation are more acute since the visual field is organized on the basis of Bhattacharya’s intensity, romanticism and of the way they are painted provide a celebratory transcendence of the subject matter. How does one wade across these somnolent sloughs, the sparse and effusive grounds where all our leads are buried? Along with the modernist techniques he foregrounds other devices to celebrate the surface, illuminating, inexorably bringing to life, tending a surface he fears might dull.
He is not concerned with the problem between relations in the painted space rather the active and neutral elements amidst opposite markers. His idea in this present series done in acrylic on paper board is to define an opposition and control the tension in his painting through space, matrices, images and colour to bring out a crisis, established by a gesture and holding such elements on check. It was born from another struggle within the self while decided to abjure from the narrative exuding a grace and harmony. Any attempt to read sensitivity or sympathy into such likeness would be like aims to convince the viewer that his art and obsessions are the same and bludgeon others to an agreement enabling us to hurtle free of longer real and art practice the referential sphere of the real and the imaginary”.