Lagmi Menon's creations reflect profound spirituality, capturing Hindu deities with exceptional finesse and intricacy.
Lagmi Menon turns ordinary items such as rice grains, manjadi kuru (red lucky seeds), feathers and even mustard seeds into exquisite works of art. (Supplied)
Kozhikode resident Lagmi Menon possesses a rare gift. Like a magician, she turns ordinary items such as rice grains, manjadi kuru (red lucky seeds), feathers and even mustard seeds into exquisite works of art. Yet, she doesn’t want to call herself an artist. She believes she is a student, who is navigating the enchanting world of art.
Menon’s creations, most adorned by the divine forms of her cherished gods, Krishna and Ganesha, reflect not just artistry, but a deep affinity for the spiritual. Through her works, the minuscule transforms into magnificent, and reverence finds expression in the tiniest of details.
“Art became my sanctuary when the world came to a standstill,” says Menon, reflecting on her journey that began during the COVID-19 lockdown. “It wasn’t about being an artist; it was about finding solace in creativity amid the uncertainty,” she shares.
Lagmi Menon’s artwork reflects a deep affinity for the spiritual. (Supplied)
During the early days, her artistic endeavours found their canvas on paper. Yet, her spirit yearned for something more, something unconventional. In the midst of the pandemic, when TikTok was gaining popularity amongst budding artists, she embraced the platform. And that was a turning point.
“I started with a charcoal sketch of Mohanlal, my favourite actor. I then proceeded to paint Lalettan on a jackfruit seed. To my astonishment, my creations resonated with the audience. I garnered over 5000 followers on TikTok within a few days,” she reminisces.
Menon’s TikTok channel subsequently became an outlet for her experiments, where she ventured beyond conventional boundaries. Her artistry knew no limit. From painting intricate designs on bindis to painting delicate feathers with the portraits of cine artistes like Jayasurya and Shankar Mahadevan, the list goes on.
“I haven’t pursued formal art education, nor do I plan to. I simply let my creativity flow naturally, whenever I manage to carve out time for it,” says Menon, who worked as a branch manager at a financial services company.
Last year, Menon achieved a remarkable feat by delicately painting the Dasavatharam — the ten avatars of Lord Vishnu — on a feather using acrylics, a task that seemed daunting to many.
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“I presented the feather to the Guruvayur temple, as a tribute to Lord Krishna. I cannot express the happiness I felt while doing so,” she smiles.
As months passed, she ventured completely into the realm of minuscule artistry, painting revered deities, Krishna and Ganapati, on rice grains with remarkable precision, employing lenses to magnify her vision.
Besides, she replicated these divine forms on mustard seeds, showcasing her unyielding determination to explore the infinite possibilities of her talent.
“That demanded hours of uninterrupted focus; yet, I revelled in this process, infusing life into the tiniest canvases imaginable, including toothpicks. It became a challenge that I loved taking on,” Menon told South First.
For her, painting the face of Lord Krishna held a special significance. “I believe that the ethereal ‘venna kannan’ form of Krishna is imprinted on my soul. I feel unparalleled joy when I am able to recreate Krishna’s face and form on the smallest of mediums.”
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This journey took a new turn when she decided to immortalise Krishna’s forms on manjadi kuru, the red seeds of the Gulgangi tree, native to Kerala and other southern states. “I did not rely on lenses for this task. I painstakingly hand-painted each Krishna form using my artistic vision,” she points out.
Recently, her dedication found a fitting tribute when she presented the Guruvayur temple in Thrissur, Kerala, with a collection of 101 meticulously painted manjadi kuru seeds, each frame encapsulating the divine essence of Lord Krishna.
“People express keen interest in my manjadi kuru artwork, often inquiring about purchasing individual Krishna-themed seeds. However, I am hesitant to sell them individually,” shares Menon, her passion evident in her voice.
“They often underestimate the immense effort that goes into painting a single seed. Valuing it at a mere ₹500 or ₹1000, in my eyes, falls far short of its true value. To me, these artworks are priceless creations,” she adds.
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She continues, reflecting on her decision-making process, “Nevertheless, I have contemplated selling them in sets, with a minimum of 21 painted manjadi kuru seeds framed together as one artwork. This way, I believe the seeds will be cherished, and my work will remain safe and intact.”
While she remains steadfast about her manjadi kuru pieces, Menon has found a market for her other creations.
“I have sold commissioned artwork on feathers, crafting portraits of couples and individuals. They range from ₹2,500 to ₹3,500, based on custom requirements. I’ve received orders from various states in India and even Gulf countries. However, I don’t perceive this as a business venture. It’s merely a passion, something I genuinely enjoy doing.”
Menon’s talents don’t end with her artwork. A passionate dancer, she runs a dance institute in Kozhikode where she teaches Mohiniyattam and Bharatanatyam.
“Some people request art lessons from me, but I decline. I don’t consider myself an expert in the field, and I don’t even follow strict rules. I experiment freely with colours and techniques, doing what feels right to me,” she explains.
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Her art has been getting attention from other quarters as well. “The prestigious Ulanadu Sree Krishna Swami Temple in Southern Kerala has recognised my manjadi kuru artwork, commissioning me to create as many pieces as possible,” Menon proudly shares.
“In just a week, I have managed to complete over 50 seeds, and with the ample free time I have now, my aim is to continue this endeavour and paint Krishna on as many seeds as I possibly can,” she adds.
As Menon continues her artistic journey, her story serves as a reminder that art knows no boundaries, no formal training, and no limitations.
“Art is my language of devotion, my way of connecting with the divine,” she concludes, her words echoing the sentiments of every stroke she paints.
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