Find an area of your property that remains shaded throughout the day, as it should never be placed in direct sunlight or areas where there are high temperatures. Put the container in place before pouring in the liquid to reduce the risk of spilling it. The process of evaporation is aided by giving liquid as much access to the atmosphere as possible, so if the stripper is in a bottle, it would be prudent to transfer it to a large, non-corrosive container. This method is best avoided if you have pets or small children, or do not have an area to store it where it is out of the way. Evaporateĭepending on your location and circumstances, it may be best to allow paint stripper to evaporate in the open air. Alternatively, they may provide details of a recycling center in your area where members of the public can attend to deposit leftover materials that would otherwise be harmful to the environment and are unsafe to keep in the home. Contact your local environmental department to determine whether they will collect the substance to dispose of it safely on your behalf. Environmental Departmentĭue to the highly toxic nature of paint stripper and the potential damage that it can do to the environment, local authorities will often provide a service for getting rid of it and other similar substances. Wear protective clothing, gloves, glasses and a face mask while handling it. In black and white, sombre greys or bright primary colours, the tree stands out resplendently, a sentinal to remind us of the havoc we seem to cause on the sacred face of the earth in our pursuit of selfish interests.WARNING: Paint stripper is toxic to touch and to breathe in. Bhaskar’s leitmotif – “‘The Tree” has remained constant as part of his oeuvre over the years in his career as a painter.Īt a cursory glance at his body of work, though it may appear that he seems to be involved and articulating his ideas through his vision of a landscape, it is primarily the image of the tree which stands out – which he keeps returning to over the years.īhaskar has painted and drawn trees in myriad mediums and yet every time he has returned to it with a new vision. They have a great significant role in our cultural landscape for they not only yield fruits but provide shade as well and cover and protect the earth’s surface and have come to assume over the years even a sacred role. And, yet these works also imbibe my intimate and immensely cherished companionship with nature which started when I was young and has become stronger with time.’Īccording to Indian mythology, trees or vrikshas were the offspring of Anala who was married to the great sage Kashyapa. On a broader scale these works reflect an innate bond between trees and people of my country, in the form of worship and as an emblem of auspiciousness. But gradually and eventually, the tree form has become the core element of my works. After experimenting on different subjects like streets, figures, I found my calling in nature, as my earlier series assimilated widespread, vast landscapes, with land, water bodies and skies. ‘As an artist, I want my landscapes to reflect the memories and experiences I have collected from the places I have lived, touched, smelled, heard and walked through.
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