The earthenware wonders

Twelve artists showcased their works at Lalit Kala Akademi in the city.

April 09, 2015 03:56 pm | Updated 03:56 pm IST

Display of ceramic products by Manisha Bhattacharya. Photo: K.V. Srinivasan

Display of ceramic products by Manisha Bhattacharya. Photo: K.V. Srinivasan

The four-week ceramic residency, jointly organised by the InKo Centre, Lalit Kala Akademi and Kalakshetra, concluded with an exhibition of the completed works of the twelve participating artists (six Indian and six Korean) from February 24 – March 5 and a symposium held at the Lalit Kala Akademi. The exhibition was inaugurated by N. Gopalaswami, chairman, Kalakshetra Foundation. Kyungsoo Kim, Consul-General of the Republic of Korea, released the special brochure, ‘Earth Matters 2: An Indo-Korean Ceramic Art Collaboration’ and Dr. K.K. Chakravarthy, chairman, Lalit Kala Akademi, received the first copy.

Luminous glazes, the use of delicate gold and silver pigments brought by the Korean ceramists and shared with their Indian counterparts, the classic symmetry of majestic urns, large free standing installation works articulating environmental and social concerns, the varied handling of woman-child themes were among the special features of the pieces exhibited.

At the symposium, the ceramists shared their experiences in joint presentations and spoke about the impact of the residency on their perception and respective styles. The artists had arrived with no preconceptions, with a ‘blank slate’ mindset. In the absence of a fixed theme for their works, their first piece was an extension of existing thought processes while the second and third began reflecting the effects of influences absorbed during the residency.

Dr. Rathi Jafer, Director, InKo Centre, coordinated the subsequent discussion which included inputs from guests and artists, ranging from types of kilns to the minimal carbon footprint generated during the firing process. Dr. K.K. Chakravarthy stressed the need for dialogue between artists, preceding the workshop, to facilitate better understanding of the languages and traditions of both the countries. Also that, to qualify as community art, the exhibition must travel from urban areas to the hinterland and back.

Manisha Bhattacharya, senior ceramic artist, offered a presentation titled ‘Ceramic Journey – India – Past, Present and Future’ which traced the trajectory from pioneering ceramic institutions and artists in India to the contemporary milieu. Some excerpts:

Currently, Delhi has the largest ceramic fraternity in India. The movement gathered momentum in the late 1970s at the iconic ‘Garhi Studios’, Lalit Kala Akademi, which, at the insistence of renowned sculptor Sankho Chaudhary, became a community-based space for artists working with different mediums.

Nirmala Patwadhan, India’s one of the best known potters, earlier schooled under iconic figures - Bernard Leach at St. Ives and Ray Finch at Winchccmbe - had her individual studio at Garhi, where many a student ventured his/her first step. She was closely associated with Devi Prasad, pioneering studio potter and peace activist, whose association with Sevagram and identification with the Gandhian philosophy tempered his approach.

Set amidst spacious grounds, a gracious colonial bungalow is home to ‘Delhi Blue Pottery’ established by Gurcharan Singh in 1952. Renowned for its tableware, tiles, architectural jaalis and the famed blue glaze, this institution has made and continues to make a significant contribution to the growth of ceramics, offering spaces and workshops that promote a vibrant interface between senior and up-and-coming ceramists.

Presently helmed by Gurcharanji’s son Mansimran Singh, the institute organises an eagerly-awaited annual event, the Potter’s Haat at Sanskriti, Anandgram.

At Bharat Bhavan (Bhopal), a multi-arts complex set up in 1982, the far-sighted director, J. Swaminathan persuaded noted ceramist P.R. Daroz to start the ceramic department.

Other centres of formal education that offer graduate and post graduate courses in ceramics today include Tagore’s Shantiniketan, the Government College of Arts and Crafts, Kolkata, the Benares Hindu University and Maharaja Sayaji Rao University (MSU, Baroda).

In 1970, inspired by the vision of the Mother, Deborah Smith and Ray Meeker started the iconic Golden Bridge Pottery studio famed for its aesthetic wares, at Auroville, Puducherry. Here, the dynamic learning process continues to be one of constant discovery and innovation.

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