Sunil Sree ,(India)Chennai based artist, works in mixed media to generate works that reflect his sensitivity to an urban environment.  In his early works he had directed his energies in engaging with particular detritus created out of train tickets, paan masal covers, seeds and condoms as unmindful and callous throw away by the public with abandoned civic sense.  His recent works are premised on humans as public with abandoned sense.  His recent works are premised on humans as ‘resource’ created out of charcoal and wood in mixed media to index an environment that is below the surface in opposition to the detritus created on the surface within the urban ambient.
   By implicating humans as ‘resource’, Sunil is gesturing towards the negative and destructive dimension of the human mind that is depleting natural resources for commercial and personal gains.  In tracing the forces at works he articulates through ‘Memory’ as mental space which will bear the residues of loss, ‘Nostalgia’ which will evoke a sense of impermanence in nature and its loss, ‘evolution’ reflecting mother earth generating resources for consumption by the humans and other lives inhabiting the planet.  Sensitive to his environment, his phenomenological approach besieges him to think about depletion that are continually exploited beneath the earth as unmindful sand mining, rock blasting reducing hills and mountains that leads to destruction of the green habitat.
   Metaphors dominate Sunil’s visual language in his attempt to trace the journey of destruction and depletion.  He has engaged with natural materials as charcoal sticks and wood to inscribe his concept.  The works have been crafted to suggest the notion of loos intentionally or as integral to nature’s cycle; the irregular shaped carved cavities within which the charcoal sticks are placed gestures towards the methodology of exploitation and the use of charcoal powder is a poignant indicator of time as impermanence, a constant state of creation and collapse leading to nothingness.
   His concept engaging with earth’s under surface metonymically extends to represent the artist’s subconscious in the power play between his creative resources which he wishes to harness through correspondence with his materials that articulates to express his concerns of the environment and extending the same to represent the power at play in the depletion of resources for a negative purpose of pure commercialization and individual gains by humans.  Sunil’s working methodology with natural materials has resonance with ‘environmental art’ wherein he is directing attention through materials to losses that takes place conveying philosophically the notion of impermanence which is the essence of nature as human life, exploring ideas of decay and renewal, chaos and order.  So while conveying conceptually man’s involvement in depletion of nature’s resources, he is also implicating the concept of time with the tendency of all structures and energies to lose their integrity or time as decay.  Though the works are small in format it inherently conveys the power of his thoughts making it visually provocative. 
   Sunil’s works effect the binaries of opposition of man versus nature, implicating losses that happen as a process of destruction and renewal in nature and man’s intentional purpose of exploiting for individual gains.  These oppositional forces Sunil has conveyed through works that are not monumental but in intimate size to convey the magnitude of loss which continues to happen every day through the human agency.  The power of black sustains his concept majestically.

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