Wednesday, 16 October 2013

Golden Eggs

The Golden Eggs is an adaptation of the widely referred to idiom and tale, ‘Killing the golden goose’.
This ironic representation of the non-existential golden eggs depicts materialistic greed and capitalism.

    GE1 to GE18 - 1.5" x 1.5" x 1" to 4" x 4" x 1.5" , Anagama Fired Stoneware





Monday, 7 October 2013

Domes

I look up and it exists. As if to suggest heaven, not the sky of our Earth. It's very loftiness implies an impending beatitude and peace. But, this colossal epitome of a dome could be perceived as; a far-fetched unattainable edifice of heaven, or, a film of recondite pleasure that is so humbly spread across as the sky.


    DM1 & DM2 - 4" x 4" x 6.5", 3.5" x 3.5" x 5.5" , Wood Fired Stoneware




Tuesday, 20 August 2013

Cylinder Jars

    CYJ1 & CYJ2 - 4.5" x 4.5" x 5.5", 4" x 4" x 6" , Wood Fired Stoneware

    Detail

    CYJ4 - 3.5" x 3.5" x 5" 

    CYJ3 - 3.5" x 3.5" x 4.5" , Wood Fired Stoneware




Monday, 19 August 2013

Moon Vases

    MV - 3" x 1.5" x 3" , Wood Fired Stoneware


               Detail


Wednesday, 14 August 2013

Functional Ware

     This lot of ceramics is equipped with vases, bowls, platters, tumblers, jars, urlis etc... These varied forms comprising from massive jars to smaller vases, were made keeping in mind a person’s environment which effortlessly coalesces with his lifestyle whetting a sense of complacency.

    Twins


    BWLT - 6" x 4.5" x 2.5" , Wood fired Stoneware

    Detail


Smoke Fired Potlies

     Embellished by the smoke and the fire, the smoke fired pots are a product of rustic, yet profuse technique. The smoke firing involves smouldering of the shaped and burnished pots in a metal or a brick container, nested in a variety of textures such as saw dust, salts, copper wires and a bedding created from newspaper rolls. Having endured a firing for several hours, these pots evolve polished and opulently adorned by the flames.



SF4 - 3.5" x 3.5" x 6"  
SF5 - 3.5" x 3.5" x 5.5"
SF1 - 4" x 4" x 7" 
SF2 - 4" x 4" x 7"
SF3 - 4" x 4" x 6"



Saturday, 22 June 2013

Surfacing-The Exhibition

15th & 16th June '13, Gandipet, Hyderabad

Set against a serene location, the works in clay Surfaced as objects of inquisition, to being acquiescent. Snuggled amongst coconut trees and mango farm, dulcet aesthesis of the flute, eirenic inhabit, and supremely, the coalescence of all sporulating pluperfect concordance.

The art of exhibiting art has been maneuvered to another echelon entirely. A stark white wall erected in the midst of an outback, evincing an element of a gallery space, although the demesne strongly perpetuating a crude and agrestic aura.

The sublimeness of sharing figments of imagination, to be able to steer minds to the nonce, to behold psyches wallowing into an enchantment of the occurent space and artwork, utmost self-gratification !
























































Thursday, 20 June 2013

Surfacing - Note

   Rocks are weathered and the solvents are transported by way of erosion, wind, water and other such forceful natural occurrences. They migrate until eventually forming clay. Meanwhile the mind saunters owing to similar occurrences and navigates to the harbor. Having advanced, the clay and the mind are now a subject of inquisition.

“Beauty is truth, truth beauty”- that is all
 Ye know on earth, and all ye need to know.
                          -Ode on a Grecian Urn, John Keats.

These lines pertain to a “foster-child of silence and slow time”, the urn that Keats had once romantically defined. Although seemingly esoteric, the beauty, the truth, the silent tale, and the dormant ageing beneath a creation of clay are comprehensible by each at some realm.

The plasticity of clay while moist, the firmness when dry and the permanency after enduring a firing in a kiln, this simple beauty of malleability of clay is what puts forth moldable minds.

A mind thus perceives the grace by which clay takes form within inquisitive hands and edges further in search of a recondite contentment, decomposes into fragments of rocks and reaches out for greater understanding, shapes itself endlessly and thus ascends to an ethereal environment. Having taken off on an eternal voyage, the mind thus surfaces as that of a creator. 

Thursday, 30 May 2013

Surfacing contd..

               A force assumed to cause events that cannot be foreseen or controlled: I went to Auroville in 2011, initially to work with an Architect. Auroville, which is about ten kilometres from Pondicherry, is a city located in South India. It is based on the vision of Sri Aurobindo Ghose and Mirra Alfassa, known as, 'The Mother'. I had chanced upon the founders of Golden Bridge Pottery, Pondicherry, Ray Meeker and Deborah Smith. Things had since acquired an irreversible conspiracy. The fragment of the universe that I dwelled in presumed incidences that steered me to where I belonged; amidst clay.

 My first year of learning clay work involved mixing clay, throwing on the wheel and hand building. Wrapped up the course by glazing pots and firing a seventy cubic feet wood fired kiln, with three other contemporaries.

I went back for my second year of course in 2012 only to unravel the myriad marvels of clay. As of my teacher, he taught me in all respects an unusual agglomeration. Without teaching.






 Lola















Thursday, 25 April 2013

Surfacing

In a decaying society, art if it is truthful must also reflect decay. And unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.
                                                                                                                            - Ernst Fisher



I was seven, I went running out of my house on a rainy day, once wet, looking for orangey, red clumps on the ground usually covered with dirt. I picked up one of these clumps. Thus began my love affair with clay. Sixteen years later, my teacher plonked a bag of clay in my hands and helps me continue my odyssey.

Unknowingly, a temperament in me I never knew existed came to light. I strongly believe it is clay to have brought this into existence. This temperament in turn helping me mould clay. A collateral damage had been done.

Hence, Surfacing.