let’s begin with an empty room now
imagine that space imagine a form within
that space or not the french artist yves
klein once had a solo exhibition in
France where he just had the room he
just exhibited the room so therefore you
saw that space was also art which leads
us to the question to the somewhat
disturbing question of the day which is
what’s what and who decides so do you
see what you can see that now you know
this is the empty space and then you
imagine a work you are imagine the works
within that space and you see what what
is the artist intend and what is what is
the viewer gained from that are these
experiences the same do they overlap do
you need to understand what the artist
had in mind or is it something that you
you know from your own experiences
impose on the work and then you want to
know what is the artists intention
anyway I am a sculptor and if it were my
works in the room these are the things i
would want to happen i would want that
that sculpture to immediately arrest
your attention for your breath to be
taken away i feel i would want that form
to own the space absolutely you know
engulf that entire space and i would
want that sculpture to be singed in your
memory most specifically i like to
capture an idea you know so so the way
what we’re going to do now is we’re
going to just divide the stock into the
idea the process and the product or the
creation so you have I our work with
with a human form that that is my main
metaphor I use it as a metaphor I use a
as I use it literally and I try to
capture in every sculpture of mine I
track to capture movement because for me
movement is life if a body is still its
depth but in the stillness in my work I
try to capture some movement so for me
it is there is there is movement in
stillness as there is stillness in the
movement as you would sometimes see you
know if you see a body seated and you
see the thumb that is just you know
lifting up like this even though the
body is quiet and as autonomous there is
that little movement that tension so
that’s what I try to bring in my work
and in this whole range of movements you
have if you have two ends of the scale
you have stillness and you have been
frantic frenzied movement and in between
all these parts you also have several
stages of that movement and for me every
one of those parts is a work so it is
the process and the product so I’d like
to also think that my sculptures live in
the present continuous as I was saying
you know I like to see them move and I
liked you know so because it’s like if
you had come into a room and you know
you see a sculpture you see them in
great abandon enjoy and they seem like
they have just stopped there just
because you are looking at them and
should you turn away you know they have
changed they are going on with their
happy movement but then when you go
again and look at them they come back to
that you know they take that same
position again so I feel I want to
infuse life in that movement even in
that one static state I want you to
imagine the entire range of movement and
the joy that flows within that movement
my work is also about communication in
and I mean that should be the absolute
you know bedrock of any artists thinking
because you know if you didn’t want to
communicate then you want to work you
know so I do use the you know the whole
thing of this celebration of life as a
part of my sculptures and
you know my work communicates like in in
the air in this you would see here that
even in the stillness that I was trying
to explain you know there is a
communication and there is a movement in
within that still for those still forms
like you hear like you see you know in
in some of the works i use the ribbon
which is you know in is being thrown and
it captures that movement but it is
frozen in that movement of for example
here there is a twirl i I mean the twirl
of the of the body form and that entire
weight that is you know seems weightless
seems light you know that that’s that’s
what I try to do and my premise is that
if it came into my mind then it can be
done something that is thought has can
be created for example this work I got
titled it’s joy and when you look at it
you know you do get that feeling of
elation use I hope that you get that
feeling of elation and I tried to you
know with this heavy medium that I use
bronze I try to give a weightlessness a
sense of flight of joy you know of
something that whether where the spirit
soars that for me is is is what I would
like to express and communicate in my
work to me the work begins in the mind
you know it is a thought it is an idea
and there is a great excitement I want
to see for myself what that idea is
going to be how it’s done how will it
take form in reality and I want to see
that vision which I have in my mind’s
eye so so the whole process it starts
with this you know just a newborn
thought newborn idea and then that
entire process of you getting revealed
of revealing itself is and revealing
itself very organically sometimes it
changes along the way and it becomes
inevitably what it should be and that
end product or that end sculpture
sometimes this is so much better and so
much more enjoyable for me than the
original idea so this this is also a
very exciting kind of part of the
process and therefore I go on to the
next
age which is the process and process
being you know bronze casting which is
you know the old age old lost wax
process which is over 5,000 years old
and it is it’s it’s been it’s remained
unchanged for all these years some of
the Harappa and the mohenjo-daro bronzes
are you know were made with the same
process so it’s an old process which
hasn’t changed and I tried to bring this
heavy medium and to express lightness a
freedom or balance you know once a
critic said that my sculpture seemed to
defy the laws of physics for me that was
a great compliment and because it’s a
fantastic thing to to first have the
idea in your mind and you know you’ll
never sure whether that will work and
should it work it’s it’s an extremely
you know fulfilling feeling so and it’s
very important that each that I do that
one work and that one work gives birth
to the next if one seized to work at
that point being satisfied with that one
work one would never see the next work
and the possibilities of the next work
and this whole thing gives you that
entire feeling of freedom of an endless
you know an endless pit of of
possibilities and you know of a lifelong
journey of working so now we come to the
whole thing of the of the creations so
the thing is that these that the when
the file when I finally create the work
these sculptures are very personal in
some ways they are very personal the
thoughts are very personal but I also
hope that they communicate to other
people you know the whole idea of an
artist working is to communicate as I
said so it and one hand and the reason
why I feel you know the work
communicates to others is that are used
since I use the human form and I use the
body language as my medium I feel that
that is a universal language and it
communicates itself
in the expression for me artists forever
and particularly the medium that I use
bronze it is withstood the test of time
you know centuries and it is or it is
it’s such a strong medium it has
withstood floods and earthquakes and was
and but you know that is there is a very
subtle more profound thing either i hope
persists or lives on is that the not the
message so much but the feeling the
emotion that those sculptures would
convey and each generation will glean
from it you know what it can or whatever
is relevant at that time and one hopes
that these things are timeless because
emotion is timeless and a human emotion
and humid human situation is timeless
and so now let’s return to that empty
room and where we started so if we place
a sculpture in that row it not only
defies defines itself but it also
defines that space within it what is
that question which was disturbing
what’s what is no longer so disturbing
it now seems to be a slightly different
question what’s that you know one feels
like asking and the answer is a
combination of both of my experience of
personal experience of a universal
experience of bringing together of both
the viewers experience and the artists
sometimes these experiences sometimes
these things overlap and sometimes they
don’t and if they don’t then one is left
with that cliche I don’t know what art is but I know what I like thank
imagine that space imagine a form within
that space or not the french artist yves
klein once had a solo exhibition in
France where he just had the room he
just exhibited the room so therefore you
saw that space was also art which leads
us to the question to the somewhat
disturbing question of the day which is
what’s what and who decides so do you
see what you can see that now you know
this is the empty space and then you
imagine a work you are imagine the works
within that space and you see what what
is the artist intend and what is what is
the viewer gained from that are these
experiences the same do they overlap do
you need to understand what the artist
had in mind or is it something that you
you know from your own experiences
impose on the work and then you want to
know what is the artists intention
anyway I am a sculptor and if it were my
works in the room these are the things i
would want to happen i would want that
that sculpture to immediately arrest
your attention for your breath to be
taken away i feel i would want that form
to own the space absolutely you know
engulf that entire space and i would
want that sculpture to be singed in your
memory most specifically i like to
capture an idea you know so so the way
what we’re going to do now is we’re
going to just divide the stock into the
idea the process and the product or the
creation so you have I our work with
with a human form that that is my main
metaphor I use it as a metaphor I use a
as I use it literally and I try to
capture in every sculpture of mine I
track to capture movement because for me
movement is life if a body is still its
depth but in the stillness in my work I
try to capture some movement so for me
it is there is there is movement in
stillness as there is stillness in the
movement as you would sometimes see you
know if you see a body seated and you
see the thumb that is just you know
lifting up like this even though the
body is quiet and as autonomous there is
that little movement that tension so
that’s what I try to bring in my work
and in this whole range of movements you
have if you have two ends of the scale
you have stillness and you have been
frantic frenzied movement and in between
all these parts you also have several
stages of that movement and for me every
one of those parts is a work so it is
the process and the product so I’d like
to also think that my sculptures live in
the present continuous as I was saying
you know I like to see them move and I
liked you know so because it’s like if
you had come into a room and you know
you see a sculpture you see them in
great abandon enjoy and they seem like
they have just stopped there just
because you are looking at them and
should you turn away you know they have
changed they are going on with their
happy movement but then when you go
again and look at them they come back to
that you know they take that same
position again so I feel I want to
infuse life in that movement even in
that one static state I want you to
imagine the entire range of movement and
the joy that flows within that movement
my work is also about communication in
and I mean that should be the absolute
you know bedrock of any artists thinking
because you know if you didn’t want to
communicate then you want to work you
know so I do use the you know the whole
thing of this celebration of life as a
part of my sculptures and
you know my work communicates like in in
the air in this you would see here that
even in the stillness that I was trying
to explain you know there is a
communication and there is a movement in
within that still for those still forms
like you hear like you see you know in
in some of the works i use the ribbon
which is you know in is being thrown and
it captures that movement but it is
frozen in that movement of for example
here there is a twirl i I mean the twirl
of the of the body form and that entire
weight that is you know seems weightless
seems light you know that that’s that’s
what I try to do and my premise is that
if it came into my mind then it can be
done something that is thought has can
be created for example this work I got
titled it’s joy and when you look at it
you know you do get that feeling of
elation use I hope that you get that
feeling of elation and I tried to you
know with this heavy medium that I use
bronze I try to give a weightlessness a
sense of flight of joy you know of
something that whether where the spirit
soars that for me is is is what I would
like to express and communicate in my
work to me the work begins in the mind
you know it is a thought it is an idea
and there is a great excitement I want
to see for myself what that idea is
going to be how it’s done how will it
take form in reality and I want to see
that vision which I have in my mind’s
eye so so the whole process it starts
with this you know just a newborn
thought newborn idea and then that
entire process of you getting revealed
of revealing itself is and revealing
itself very organically sometimes it
changes along the way and it becomes
inevitably what it should be and that
end product or that end sculpture
sometimes this is so much better and so
much more enjoyable for me than the
original idea so this this is also a
very exciting kind of part of the
process and therefore I go on to the
next
age which is the process and process
being you know bronze casting which is
you know the old age old lost wax
process which is over 5,000 years old
and it is it’s it’s been it’s remained
unchanged for all these years some of
the Harappa and the mohenjo-daro bronzes
are you know were made with the same
process so it’s an old process which
hasn’t changed and I tried to bring this
heavy medium and to express lightness a
freedom or balance you know once a
critic said that my sculpture seemed to
defy the laws of physics for me that was
a great compliment and because it’s a
fantastic thing to to first have the
idea in your mind and you know you’ll
never sure whether that will work and
should it work it’s it’s an extremely
you know fulfilling feeling so and it’s
very important that each that I do that
one work and that one work gives birth
to the next if one seized to work at
that point being satisfied with that one
work one would never see the next work
and the possibilities of the next work
and this whole thing gives you that
entire feeling of freedom of an endless
you know an endless pit of of
possibilities and you know of a lifelong
journey of working so now we come to the
whole thing of the of the creations so
the thing is that these that the when
the file when I finally create the work
these sculptures are very personal in
some ways they are very personal the
thoughts are very personal but I also
hope that they communicate to other
people you know the whole idea of an
artist working is to communicate as I
said so it and one hand and the reason
why I feel you know the work
communicates to others is that are used
since I use the human form and I use the
body language as my medium I feel that
that is a universal language and it
communicates itself
in the expression for me artists forever
and particularly the medium that I use
bronze it is withstood the test of time
you know centuries and it is or it is
it’s such a strong medium it has
withstood floods and earthquakes and was
and but you know that is there is a very
subtle more profound thing either i hope
persists or lives on is that the not the
message so much but the feeling the
emotion that those sculptures would
convey and each generation will glean
from it you know what it can or whatever
is relevant at that time and one hopes
that these things are timeless because
emotion is timeless and a human emotion
and humid human situation is timeless
and so now let’s return to that empty
room and where we started so if we place
a sculpture in that row it not only
defies defines itself but it also
defines that space within it what is
that question which was disturbing
what’s what is no longer so disturbing
it now seems to be a slightly different
question what’s that you know one feels
like asking and the answer is a
combination of both of my experience of
personal experience of a universal
experience of bringing together of both
the viewers experience and the artists
sometimes these experiences sometimes
these things overlap and sometimes they
don’t and if they don’t then one is left
with that cliche I don’t know what art is but I know what I like thank
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