Milind-MUlick_artist
Fine Artist & Mentor

Milind Mulick

Specialised In

Watercolor Painting

Subjects

Landscape Painting

Workshops Completed

3 Editions of Hues of Watercolor

When is Next?

Check our upcoming session!

Words to exploration

Milind Mulick ‘s concept of detachment is the fulcrum which makes his art revolve.

Milind Mulick is the son of a well-known illustrator and painter, Pratap Mulick. His artistic ability became apparent rather early. He has been drawing since the age of 5 and he started doing watercolour landscapes at the age of 13.

He received government’s National Talent Scholarship to study art, but he decided to major in engineering rather than art.After graduation, however, he returned to artistic inclinations and began doing architectural illustrations and other commercial and design work. He continued painting landscapes and giving art lessons as well.He runs his own watercolor courses. He also holds workshops occasionally, and teach a few students privately. He has participated in many group shows throughout India, and have had 20 one- man shows in Mumbai and Pune.

Milind Mulick ‘s  paintings are in the collection of many private individuals and a few corporate houses in India, USA, Europe as well as Japan and Singapore.

Milind Mulicks muse is this city.

The artist when steps out of his home for a walk , the world outside appears as a juxtaposition of subjects. Mulicks canvases portray nondescript nooks and crannies,which assume a strange dazzle when rendered by him in paint,along with others featuring iconic city establishments such as Good Luck Cafe on FC Road and Shaniwarwada. Mulick often choose a slice of the city along with a portion of the Konkan belt for the art hungry.

I move around Pune and experience different things, says Milind Mulick. Adding,While wandering around the city there are many things one encounters. For example,if one stands at a signal,one sees an array of billboards and a sea of people crossing the street. Therefore, some of my paintings are of crossroads,which seek to express the mixed emotions induced by the spectacle. At one end of the spectrum there is visual ecstasy,while on the other end there is visual pollution: too many people and the rush. As an individual I may not like whats happening; the noise,air and visual pollution, but as an artist I must be able to detach myself from the situation and fish out what interests me in order to paint it.

Milind Mulick ‘s concept of detachment is the fulcrum which makes his art revolve. See,my philosophy in life is that if you are attached to things,they bother you. So, I seek to establish a loving detachment,which doesn’t translate into me disliking the subject,but liking them from a certain sentimental distance so as to not to allow the subject to bother me psychologically, elucidates Mulick. He goes on to illustrate his point. If I encounter a municipality trash bin overflowing with garbage, I could choose to sneer and swear at the authorities for doing a shoddy job and at citizens for clumsily chucking their trash around the bin; while not doing anything about it myself. On the other hand,if I isolate myself from all the negativity,I might be able to do something positive about it; which is to find a pattern in it that is beautiful and can be painted. And I paint and paint because I can paint, he says.

Milind Mulick says people often ask him what he is trying to say in his paintings. The truth is,I am not trying to say anything. I am trying to connect the dots and find a pattern and hopefully capture the implicit visual sensation in something. That sensation is beautiful and I am trying to find and paint that sensation, says Mulick.

So is the creative process aimed at wrenching sentimentality out of his works? Yes,only the negative sentimentality,while retaining all the positivity. To be able to preserve this positivity is my reward as an artist, says Mulick.

Labelling himself as an artist,Mulick calls himself a painter of community spaces. I don’t paint structures that are larger than life, confesses Mulick. He explains that he’d rather deal with a subject that is more immediate to the multitudes. For example,I do not see any beauty in the Taj Mahal. To me it is a symbol of disparity between how the kings lived and how their subjects lived. Even appearance-wise I don’t find anything spectacular about it,apart from the fact that it is very expensive; which does not impress me a lot, he says.

The author of 9 book says, I have thus been painting for last 22 years or more on a regular basis and have, hopefully, created a place for myself in contemporary Indian art.

Don't forget we blog too!

Read our posts

Ready to have a conversation?

Contact Us