Curated by Shirley Bhatnagar, the show at Mumbai’s 47-A combines studio practices from across the world with varied forms that are united by their functionality
While exhibitions showcasing design in the realm of art, architecture and home are common, ceramic design is a niche intersection of the aforementioned that often goes unnoticed. To address this gap–and triggered by a conversation about it with Baro Market’s Srila Chatterjee–multi-disciplinary artist and ceramic designer Shirley Bhatnagar took it upon herself to gather a group of 20 artists from across India for ‘Back to Earth’ at the Mumbai-based gallery, 47-A.
A broad spectrum
“I have a large professional and personal network of artists and studios I readily admire and wanted them on board. I also wanted some young makers who have just started out to give them this amazing platform and also those who I did not know at all. While not everyone could participate, and some joined at the last minute, we got a fabulous and diverse group of makers, designers and artists,” says Bhatnagar, when I caught up with her. The 20 artists in this show have brought together glass and ceramics in forms that play with the tactile medium through their respective studio practices via aspects of the craft such as “a glaze recipe, a special form, the use of a brush or simply combining materials”.
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Lotus chandelier
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Studio Ochre
If you are wondering how glass and ceramic are related and yet distinct, the commonality ends at having the same source material as the finished products are completely different. Ceramics–or unglazed terracotta–has a history that can be traced back to 7,000 years at the site of the Indus Valley Civilisation. “The chain of motifs and patterns and shapes in a way is unbroken. Works by Olee Maatee, Reyaz Badarrudin and Dolon Kundru are very much a celebration of the clay easily found in the Indian subcontinent,” says Bhatnagar.
Given its history, it is interesting to note the contemporary iterations of the pieces being showcased through this exhibition. For example, take Kopal Seth showing her studio pieces that are for everyday use but evoke a sense of whimsy when it comes to design. “I found myself exploring the symbolic meaning some objects hold in our mythology, culture and traditions. What stuck with me in the process was the idea of social objects. These objects are designed to serve the community. Communities are nurtured and grow around such objects, and they mostly hold space in the mundanity of our lives. From there, my practice evolved into exploring ways to represent populations and communities on the objects. Lives are chaotic, intertwined and messy yet somehow functional, and I aim to capture that notion in my work,” shares Seth.
Functionality matters
Pune-based Curators of Clay are known for their handcrafted, high-fired ceramics, with a nod to Japanese and Scandinavian design. The founders, Bhairavi Naik and Rohit Kulkarni, are showcasing contemporary lighting at the exhibition. “All we want to do is craft beautiful objects of function. As a studio, our vision is simple–to craft ceramics that can be cherished, coveted, desired and most importantly, used and enjoyed every day,” share the duo.
“CERAMICS HAS ONLY RECENTLY BEEN REPLACED BY MAN-MADE MATERIAL LIKE PLASTIC, AND HYPER-INDUSTRIALISATION IS CAUSING HAVOC WITHOUT GIVING US ANYTHING MEANINGFUL.”
Shirley Bhatnagar
Shirley Bhatnagar, Yakuza
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Nita
Dolon Kundu–a pinch potter from West Bengal–has worked in conjunction with Nandita Palchoudhuri, and employs a dose of magic-realism as she is seen taking flights of fancy while creating pieces such as Frida, inspired by Mexico. The National Award-winning artiste has had a tough start with her mother having to work as a house-help to support her. But since then, she has shown at exhibitions abroad.
Ninety-year-old Nita Barua, a graphic designer who took up pottery as a hobby at the age of 60, has a style of painting that is possibly reminiscent of her old life. “My work is whimsical and unique, with a style of painting that is my own,” says Barua about the pieces she is showcasing at this exhibition. While Barua has lost most of her eyesight, she has loyalists in Mumbai who love her significant body of work.
Studio Glassic
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Kopal seth, KOSE
And if you thought that ceramics and glass were restricted to their preconceived, accepted forms, take a look at Kara Sabi’s Kritika Soni who brings in textile design and seals it with love and the traditional art of wabi-sabi. “A lot of my decorative imagery and surface treatment comes from my background in textile design. I use details like floral patterns, prints and fabric impressions on clay. I work a lot with textures and surface design and quite enjoy the challenge of juxtaposing the soft and tactile quality of textiles with the strong and tough feel of ceramics,” Soni tells me.
A labour-intensive process
However, it is wise to not be fooled by the beautiful pieces that are a part of this exhibition without crediting them to their labour-intensive way of making. As Bhatnagar explains: “Working in ceramics and glass is a very difficult choice as [their processes of creation are] labour- and technique-intensive. However, the process of working with them is most engaging and soul-filling, and once you understand that, there is no going back. Ceramics has only recently been replaced by man-made material like plastic, and hyper-industrialisation is causing havoc without giving us anything meaningful.”
But Bhatnagar remains optimistic about renewing interest in the medium as she credits social media. “Thanks to Instagram, reels and social media, ceramics have suddenly become very popular at every level and there seems to be a critical mass which wasn't there even say 10 years ago. So the ‘Back to Earth’ show is timely,” Bhatnagar signed off.
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