N O R T H E R N C L AY C E N T E R
Passages From
India
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N O R T H E R N C L AY C E N T E R
Passages From
India SEPTEMBER 18 – OCTOBER 31 2O21
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PASSAGES FROM INDIA
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Installation view
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Passages From
India ROBERT SILBERMAN
India, as an independent nation, is not one hundred years old. Yet the area occupied by India is home to ceramic traditions going back thousands of years, and there is a visible resemblance between prehistoric ceramic figures and those still being made today. The history of Indian ceramics may not match the achievement of China, home of porcelain, or offer the rarified appreciation for ceramics found in Japan, home of the tea ceremony. But the ceramic culture on the subcontinent stands out for its breadth and depth: there is extraordinary local and regional diversity, and pottery has played an essential role in the observation of rituals, as well as everyday functional use. Not long ago, more than one million individuals in India earned their livelihood primarily through
the production of pottery, often as a hereditary occupation. Indian potters, though generally lower caste, traditionally hold a special status as quasi-sacerdotal diviners and healers whose tools, including the potter’s wheel, are regarded as gifts of the gods with their own sanctity. Pottery figures prominently in communal festivals and familial rites such as births, weddings, and funerals. From the monumental terra cotta horses of Tamil Nadu to smaller figures of deities used as votive offerings in shrines and temples, down to the disposable clay cups used by street vendors, ceramics could be found seemingly everywhere. That presence continues even today, in the digital age. The giant ceremonial horses may now be made of concrete, and the small cups of plastic, but religious figurines and handmade utilitarian
pots are still used in many communities. The decline in the traditional pottery communities, though continuing, has not been as extreme as was feared a few decades ago. For many Indians, the customs that incorporate pottery are deeply rooted and have not been abandoned. There is also a niche market for traditional folk art ceramics used primarily as decorative objects by the urban middle and upper classes. More importantly for the matter at hand, there is an increasing awareness of the kind of contemporary studio ceramics presented in Passages From India. In the colonial era, the British viewed Indian handicrafts through their own paternalistic lens. At the Great Exhibition of 1851, held in the Crystal Palace in Hyde Park, London, Indian handicrafts
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in wood, metal, cloth, stone, and clay were celebrated as models of lively design and technical skill. The praise they received served to bolster criticism of the massproduced artifacts of industrial Britain, anticipating the polemical stance of the Arts and Crafts movement. Yet the admiration for Indian crafts did not prevent John Ruskin, the most famous of all Victorian writers about art, from being horrified by the naturalism and the immoral (i.e., non-Christian and, at times, erotic) character of Indian art: “Art whose end is pleasure only is pre-eminently the gift of cruel and savage nations, cruel in temper, savage in habits and conception as the product of savages.” When it came to art education in India, the British upheld painting and sculpture as the premiere forms of art, and restricted local participation,
treating Indian students primarily as either unsuited for training in the fine arts beyond mechanical copying or as artisans relegated to vocational-style technical schooling in the so-called decorative arts (and second-class status). In the early twentieth century, Indian nationalists associated handicrafts with the political goal of self-rule. Gandhi at his spinning wheel provides the iconic image of this movement, which emphasized local production and rural traditions, with the crafts as the epitome of spirituality as well as community, a bulwark against the dehumanizing forces of modernity. Ironically enough, the rise of modern studio pottery in India, though at times associated with traditional Indian pottery making, linked to international developments. Gandhi knew
Bernard Leach and had a copy of A Potter’s Book in the library at Sevagram, his ashram. There it was discovered by Devi Prasad, who made it his aesthetic bible as he became a major ceramic artist and teacher. The Anglo-Asian country potter ideal espoused by Leach neatly dovetailed with the Indian village handicraft model and became one strand in the development of ceramic modernism in India. Exchanges with individuals and institutions in England and Japan, as well as the United States, started early and continue today; however, in India, the kind of training in ceramics to be found in American and British higher education has been largely absent. Only a handful of schools have offered ceramics as part of the arts curriculum, and then often with industrial design as the focus. There have been a few important
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potteries that fit the studio model. Gurcharan Singh, who met Leach, Soetsu Yanagi, and Shoji Hamada in Japan in 1919, established the Delhi Blue Pottery. And in Pondicherry, two Americans, Ray Meeker and Deborah Smith, continue to lead Golden Bridge Pottery which they founded more than a half century ago. “Passages From India” refers to both the artistic examples arriving in Minneapolis from India and to the personal journeys of those Indian-born artists represented in the exhibition who maintain strong ties to India, yet live elsewhere. Studio pottery in India has become even more a part of the global ceramic world, as is suggested by the fact that artists in Passages From India have studied, exhibited work, and completed residencies in countries around the world,
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as well as organized the Indian ceramics triennial, which features non-Indian as well as Indian artists. There is good reason to be wary of national labels and the use of nationality as an artistic category. At a time when nationalism often appears bound up with authoritarianism, xenophobic populism, religious intolerance and other maladies, the label may be an object of special concern, beyond the danger of becoming a tool for artistic pigeon-holing and, in the case of India, association with unfavorable stereotypes. It would be foolish, however, to pretend that nations do not exist and do not affect people’s lives, including personal and artistic development, in myriad ways. Passages From India was planned from the start to include work by
artists residing in India and by artists who now live elsewhere. India provides a challenging, but rewarding, example of the complexity of contemporary studio ceramics. To begin to see the situation accurately, it is necessary to consider the bigger picture beyond, as well as within, the national borders. Passages From India offers a necessarily selective view. It nevertheless highlights outstanding achievements that show why Indian studio ceramics, broadly considered, are so worthy of attention and so revealing a guide as art and artists go global.
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reyaz badaruddin 2009
Charles Wallace India Trust Fellowship, Master of Arts Attachment, Cardiff School of Art and Design, Wales 2007-2008 Work/Study, Golden Bridge Pottery, Pondicherry, India 2003 Apprenticeship, Isaiah Zagar, Philadelphia 1997 BFA, Pottery & Ceramics, Faculty of Visual Arts, Banaras Hindu University, Varanasi, India
Reyaz Badaruddin looks back at his development as a ceramic artist with a certain satisfaction, even though it did take considerable time and travel. After his initial ceramic training, he had a residency at an art center in Delhi, where he was introduced to artists of all mediums, including the mosaic artist Isaiah Zagar. That led him to Philadelphia and an apprenticeship with Zagar, along with first-hand knowledge of the American ceramic scene. Back in India, after a brief time as a teacher, Badaruddin went to Golden Bridge Pottery, in Pondicherry, India, for a year and a half before departing for graduate
study at Cardiff University School of Art and Design in Wales, where he was pushed especially hard to consider who he was, and what that meant for his work. Badaruddin and his wife, Élodie Alexandre, now live in an idyllic setting in the Himalayas. They collaborate on functional pottery, make their own individual work, and offer workshops, apprenticeships, and residencies – under the banner of Atelier Lalmitti. Badaruddin’s wall installation, Gundiyali Triptych, is a conceptual exercise that examines the relationship between still-life painting and the objects used
as subjects, between twodimensional representations and three-dimensional forms. It is also an homage to a rich vein of social and cultural history by incorporating traditional pot forms and materials. Still-life paintings of pots inevitably recall Giorgio Morandi and his numerous variations on that theme. But Badaruddin’s inclusion of a set of physical renderings of pot outlines, flat pot silhouettes, and full-bodied pots suggest something less formalistic and more analytical, if not playful. In turn, the pair of paintings of pot silhouettes, one rendered in flat, low-key earth tones with clay from
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Reyaz Badaruddin, Gundiyali Triptych, 2020, Ceramic, wood, canvas, paint, Grolleg slip, Agra slip, Thurul slip, Delhi slip, Andretta slip, Gujarat slip, 49 x 96.5 x 4
different regional sources and the other in boldly applied bright colors, are not taxonomic charts. Instead, they support Badaruddin’s investigation of ceramics and painting, tradition and modernity. The original impetus for this multi-faceted work was a question that touches on that old bugaboo, the art/craft distinction: Why are still life paintings exhibited, but not the depicted objects? Badaruddin believes there is more to be done with this line of exploration. He says he is going back to basics, where he started, but now his work “has everything in it. It’s getting simpler, but more who I am.”
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Mudita BHandari 2000 1998
MFA, Ceramic Sculpture, Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, Vadodora, India BFA, Ceramics, Kala Bhavana, Visva-Bharati University, Shantiniketan, India
Mudita Bhandari says she visited local potters when growing up and loved clay from the start. For her, the creative process encapsulates her feelings about her surroundings and her world at that particular time. The melding of inner and outer, and the mysterious translation of emotion into form, suggest what Gaston Bachelard called “the poetics of space.” When Bhandari went to graduate school at Boroda University after attending the famous school at Shantiniketan— founded in 1921 by Rabindranath Tagore, Nobel Prize winner in literature and a major cultural figure—she became aware of how
much she missed the tranquility, seclusion, and closeness to nature of the locale she had left. At the time, she did works with such titles as Nowhere to Walk, Strangled Skies, and Trapped—and has continued to make getting out into nature a priority. Bhandari has the essence of the work in her mind at the start; the challenge is to go step by step in the execution to reach that essence. It is, she says, “an inquiry of myself more than anything else, discovering who I am.” Her sensibility is as evident in the equilibrium displayed by the multiple elements in
works suspended from above, with their lightness and fantasy quality, as in the carefully articulated geometrical forms of her freestanding sculptures. The smooth organic forms in the suspended works are layered, so that interior spaces are exposed, recalling both animal habitations and futuristic human dwellings. At one point, Bhandari introduced metal into her work, and some of the designs looked like maquettes for science fiction film sets. The architectural aspect of her work, which combines basic forms with visionary ones, is still present. Bhandari has recently said that the geometric and the organic
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Mudita Bhandari, Nesting II, 2021, Terracotta, fired at 1150°C (^01), then smoke fired, rope, 89 x 39 x 60
sides of her art are “coming together.” In the freestanding sculptures, the articulation of the geometric shapes and the alternate areas of clay and rice paper create an almost musical sense of composition that builds upon counterpoint, rhythm, and intervals (spatial, not temporal). Some works are more assertive and livelier, others more calmly harmonious, even meditative, as if composed in a different key. But all are immediately recognizable as pure Bhandari.
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ashwini bhat 2021
McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, Minnesota 2008-2012 Apprenticeship, Golden Bridge Pottery with Ray Meeker, Pondicherry, India 2001-2003 Masters in Literature and Translation Studies, Bangalore University, India 1989-2003 Training in Bharatanatyam (southern Indian classical dance)
After a lengthy period as a classical Indian dancer, Ashwini Bhat decided she needed a break but wanted to stay in the arts. She chose clay almost arbitrarily. Yet, when she went to Golden Bridge Pottery for a brief workshop, she experienced a “primordial connection to the material.” She was on her way—and has not looked back since. Bhat’s recent work usually presents a response to the California landscape. When the artist returned to India for a memorial for her father, however, she was struck by how patriarchal the ceremonial framework was: her mother, along with Bhat and her siblings—all sisters— were effectively sidelined. That experience, recent high-profile acts of violence against women in India, and other long-standing concerns about the treatment
of women, made a response feel necessary: indignation as inspiration. New imagery, of “women’s bodies as a war zone,” began to enter Bhat’s work. Self-Portrait as the Goddess Kali is a stylized figure with a sash made from a sari given to the artist by her mother. Bhat has long been fascinated with the black goddess, a revered image of power who embodies a cultural contradiction given the pervasive misogyny and bias against darker skin. The self-portrait aspect is important to prevent a detached view; it also appears in a print that combines images of the sculpture and the artist’s own body. Matrilineal Self-Portrait borrows from ceremonial hanging bronze temple lamps to make a work that is “super-decorative and pretty” in order to talk about things that “are not pretty.” The ceramic rice-like
balls refer to the memorial rite, where all the women made rice balls dedicated to Bhat’s father and the paternal ancestors. The candelabrum cups are fashioned using imprints of the artist’s own breast (also incorporated into the Kali sculpture). The work is outrageous in the best sense, as if to say, “You want exoticism— how’s this?” The self-portrait works demonstrate how forcefully the personal and the political can be brought together with passion, imagination, and skill. They are also a reminder that, for Indianborn artists living abroad, India, to borrow from Georgia O’Keeffe, can at any time become “the faraway nearby.”
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Ashwini Bhat, Self Portrait as Kali, 2021, Ceramic, glaze, gold leaf, silk, 22 x 8.5 x 8.5
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sharbani das gupta 2000-2005 Ceramic Studies, University of New Mexico, Albuquerque 1992-1993 Work/Study, Golden Bridge Pottery, Pondicherry, India 1985-1990 Graduate Visual Communications Program, National Institute of Design, TK
Sharbani Das Gupta was always interested in clay. Then, while she was a student at the National Institute of Design, Deborah Smith and Ray Meeker came and offered a workshop. Das Gupta found it “mesmerizing,” and chose clay as an area of specialization. But the program was industrially oriented—washbasin design, anyone?—and she switched to visual communication before going to Golden Bridge two years after graduation. Straightforward linear development is nice, but sometimes progress is a winding road, personally and artistically. Das Gupta worked in graphic design in India and the
United States before returning to ceramics and finding her way with small sculptural works that responded to the landscape, a major concern ever since. A year in Houston, unfortunately, was the year of Hurricane Katrina, and that experience made her more activist in her life and her art, as in an installation that brings theatrical flair to the issue of plastic refuse in the oceans. The colored surfaces in Field Notes from a Blue Planet might recall the famous Earthrise photograph from the Apollo 8 moon mission, the jewel-like form emerging from the darkness of
outer space, with the underlying land masses and water visible beneath the swirls of the clouds. The cylindrical forms in Das Gupta’s installation were, in fact, inspired by core samples made to preserve a record of the ice caps, although she modified that source to suggest other kinds of sites and materials. Das Gupta said she undertook the project, in part, to have the opportunity to paint again, and the surfaces reveal her pleasure, as a kind of eye-candy frosting, even as they serve to represent the record of nature now under siege. The stoneware, in its whiteness, conveys a sense of weightiness and solidity, yet hints
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Sharbani Das Gupta, Field Notes from a Blue Planet, 2019, Stoneware, 42 x 126 x 5.5
at destructive forces at work in the exposed gaps and cracks beneath the surface, which may represent not just damaged samples but the forces that threaten the long history of the Earth.
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vineet kacker 1998 Post-Experience training at University of Wales Institute, Cardiff Apprenticeships with Alan Caiger-Smith and Sandy Brown, UK. 1990-1993 Work/Study, Golden Bridge Pottery with Ray Meeker and Deborah Smith, Pondicherry, India 1989 Training in Ceramics with Mansimran Singh, Andretta, India 1988 BArch, School of Planning and Architecture, New Delhi
Vineet Kacker was awarded a McKnight Artist Residency for Ceramic Artists at Northern Clay Center in 2001. Already a midcareer artist then, he continued to develop his art, and believes much of his work now is even more exploratory than when he started. After training as an architect and studying ceramics with Mansimran Singh, Gurucharan’s son, Kacker went to Golden Bridge Pottery to work with Ray Meeker on a project where full-sized clay structures were fired to become actual homes. His work continues to display an interest in architecture, as in the Stupa and Chorten forms prominent in many of his creations, and in his signature ceramic pillars, stunning works that may first appear as
architectural components but have an anthropomorphic presence as well. Kacker often makes his works appear well-worn, but that indication of time only points up his interest in a grander register of existence. Kacker describes Time - Timeless as a direct result of traveling in the Himalayas, which was “like being on another planet,” and wanting to do something with that landscape. The horizontal layers of the principal ceramic element represent rock strata and geological, rather than human, time. Nature and culture, in the form of the Stupa and Chorten forms, combine to suggest something transcendent. If Kacker’s art is often concerned with spiritual matters, that does not prevent him from revealing
a lively sense of humor. He has always delighted in popular culture, including the kind of kitschy objects and commercial mass media images that are so much a part of contemporary urban existence. In one series, he portrays himself in semiserious fashion as a guru, and he offers equal high spirits in the combination of ceramics and video in Should I Look For You, Should I Lose Myself… Kacker keeps finding new ways to set the relentless vitality of the Delhi streets against the exalted heights of the Himalayas as he explores the relationship between the timebound and the timeless.
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Vineet Kacker, Archeology of Spirit I (left), Archeology of Spirit II (right), 2021, Stoneware, porcelain, metal, 71 x 5 x 5 (left), 51 x 8 x 8 (right)
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shaurya kumar 2007 2002
MFA, University of Tennessee, Knoxville BFA, Printmaking and Painting, College of Art, New Delhi
Shaurya Kumar went from studying computer programming to becoming an artist. A specialist in printmaking, he now uses a wide variety of mediums, including ceramics, to address his great subject: history, and in particular the preservation and loss of historical artifacts and monuments. After working on several major projects, including the digital restoration of the cave paintings at Ajanta and the production of a massive compendium of Indian design, Kumar became preoccupied with the idea of the archive. For him, the archive refers to the entire historical record, not a particular set of records, and its
survival is always threatened. In India, as in many other countries, art trafficking and an inability to commit the resources necessary to preserve cultural heritage sites are, alarmingly, all too common. Kumar comes at this subject from all angles: an installation in the form of a satirical board game that criticizes the trade in stolen antiquities; drawings of architectural elements executed in soot on walls, recalling the shadow traces of figures in Nagasaki; prints with elaborate and imperfect surfaces that link the decay of objects and images to the loss of data through digital
file degradation. There is no God in that temple draws its title from a poem by Rabindranath Tagore and the idea that, when a presiding deity is removed from a temple, the sanctuary is effectively de-sanctified. In the poem, a king is rebuked—with the words of Kumar’s title—by a devout hermit, who has left a temple to join the homeless and destitute rather than remain in the king’s “bubble of gold and pride.” Kumar uses Bengali lettering to write out the line, then embellishes it with delicate ceramic strands that recall the red votive threads attached in Muslim practice to the filigree metalwork outside mosques,
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Shaurya Kumar, There is no God in that temple with Nandi Bull, 2021, Porcelain, ABS (Acrylonitrile Butadiene Styrene), 13 x 128 x 1, 6 x 6 x 9 (foreground)
thus joining supplication and the frustration of unfilled wishes or unanswered prayers. The sculpture of the deity Nandi, traditional guardian of the entryway and always placed facing the statue of Shiva as in his service, in this case faces the text instead, completing a work at once earnest, elegant, allusive—and powerful.
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shampa shah 2001
Masters in Sociology, specialization in Cultural Anthropology, Bhopal University, India 1992 Diploma in Museology, Bhopal University, India 1989 Masters in Botany, Bhopal University, India 1987-1990 Ceramic Studies, Bharat Bhavan, Bhopal, India
While studying forest botany, Shampa Shah took a workshop in ceramics offered free to anyone at Bharat Bhavan, a combination art museum, art center, and school famous for resisting the conventional boundaries between fine art and craft, including folk and tribal artifacts. Given some clay to work with, Shah “forgot time” and realized “something new had happened.” She gave up forestry and served for many years as a curator at the Museum of Humanity in Bhopal, where she organized exhibitions and created a remarkable open air “mythological trail” that introduced visitors to the rich
craft heritage of India. All the while, she continued to work with clay. One notable series of sculptures and installations focuses on the idea of transformation, with forms that recall prehistoric pictographs and figures. They populate a magical realm where there are plants, animals, and plant-animals. The works in Shah’s more recent Inscape series have quickly become contemporary classics. The basic form combines botany and ceramics by suggesting both a leaf, with an opening equivalent to the spot where a leaf would connect to a stem, and a vessel. The sgraffito drawings
display Shah’s combination of fluid spontaneity—she begins with no set idea—and controlled elaboration. One was inspired by a brief view from a train of a half-filled pitcher overturned in an empty field at dusk, a sight that haunted Shah’s imagination for a long period—and can now haunt ours. The eye inscribed on another work is a bit of reflexivity as it looks out, producing a close encounter of the ocular kind that invites viewers to consider the act of seeing. The final work, with its serpentine form inspired by the bundles of rope woven by farmers in their spare time, offers one more demonstration of Shah’s
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Shampa Shah, Inscapes – 02, 2021, Stoneware, 14 x 19 x 5
singular art, which can draw such striking images out of glimpses and memories and then bring them vividly to life.
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Madhvi subrahmanian 2002 1993 1993 1985
Charles Wallace India Trust Scholarship, Work/Study with Kate Malone, London Summer School, New York State College of Ceramics at Alfred University, Val Cushing and Marilyn Lysohir MFA, Meadows School of the Arts, SMU, Dallas Work/study with Ray Meeker and Deborah Smith at Golden Bridge Pottery, Pondicherry, India
“I think in clay,” Madhvi Subrahmanian has said. She added that clay is her “primary material,” which may be true but has not prevented her from also working in painting, drawing, printmaking, animation and video, installation and public art. With seemingly unlimited creative energy, she traced a lively path through a remarkable variety of forms and subjects, from seed pods to cosmic spirals, anthills to skyscrapers. Her recent Pandemic Pills are interactive: the pill-shaped forms have incised words (“Family,” “Joy,” “Breathe”), with audiences invited to reflect on life in the age of COVID-19
and then literally leave their mark in loose clay. Raised in one great metropolis, Mumbai, and now resident in another, Singapore, Subrahmanian says, “I’ve always been an urban artist.” She is fascinated by urban architecture, urban dynamism, urban life. Her contribution to Passages From India includes designs for the entrance doors and windows on the front of Northern Clay Center’s building that incorporate stylized versions of the map of the area. The design at the entry is used to create a cast-shadow version on the sidewalk inspired by traditional
Indian rice drawings, or kolam, that mark a threshold, a ritual still performed daily in villages and for special occasions elsewhere. Subrahmanian is also fascinated by the idea of a threshold or boundary that marks the crossingpoint from exterior to interior, public space to private space. She hopes her work will get viewers to “pay attention to transitions,” and consider the idea that “You can’t hold onto anything.” Her installation in the gallery presents a configuration of wall-mounted elements that suggest a bird’seye view of an urban skyline and also introduces the quintessential urban experience of looking into
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Madhvi Subrahmanian, Liminal Space: Mapping Minneapolis, 2021, Ceramic, vinyl, 70 x 133 x 15
windows and out from them. Because a view out a window is constantly changing with the light and movement it reveals, Subrahmanian regards this work as an expression of the philosophical idea that life means change.
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