Meet Lakshmi KV, a Bengaluru artist who makes miniature ceramic products

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A faint scent of fresh earth lingers in the home of Lakshmi KV. “It is the smell of clay, the medium that I work with,” explains the 26-year-old ceramic artist based in Bengaluru.

She spends most of her day wedging clay and moulding it into cups, mugs, bowls and plates on a potter’s wheel placed in her living room. “I usually start around 2 pm and work till midnight. My schedule depends on the number of orders,” she says.

Lakshmi is an alumnus of the National Institute of Design (NID), Ahmedabad and was introduced to miniature pottery in 2017. “I saw the works of artist Jon Almeda and fell in love with them. Initially, I was influenced by his style, but I slowly created one of my own,” she says.

Miniature pottery by Lakshmi KV

Lakshmi’s first piece was a miniature water jug. “It was one-and-a-half centimetres tall and weighed five grams. It came out well in the first attempt and this gave me the confidence to try miniature planters, cups and plates.” She began to post photographs of her creations online and as word spread she started to get orders. “I named my miniature collection Pocket Size Project. So far I have done about 150 of them, and most of my clients are miniature art collectors or people who just find them cute.”

It takes Lakshmi one week to make a piece. “Once the clay is moulded, it has to be dried before being put in a kiln at 800 degree Celsius. This makes the piece stronger. It is then glazed — a process of fusing the ceramic with a layer of glass— to make it shiny and waterproof,” she explains.

Her recent miniature work is that of a tea set. “It has five pieces, including a kettle and a sugar pot,” she says.

Miniature Pottery by Lakshmi KV

While Lakshmi enjoys making both functional pieces and miniatures, she finds the latter more difficult to create. “It needs a lot of patience and hand-eye coordination. While I can use both my hands to work on a real size product, I have to fashion out a miniature piece with just my fingertips.”

Lakshmi sells most of her products through her social media pages, and is now working on her own website. “I hope to bring it out in the next few months,” she says.

Visit @keli.pottery on Instagram to know more.

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Japan’s teamLab melds museum and sauna in fresh digital art experience

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A wall of flower petals bursts into a thousand fragments. A huge ball levitates in the air, turning from red to blue to purple. Hundreds of butterflies dart around a screen of tiny water particles.

This is not a modern art museum, but the latest creation of Japan’s teamLab collective of engineers, artists and architects, anchored around a maze of seven saunas lit up in hues of red, green and yellow.

The Tokyo-based digital art group took over an empty lot in the city’s glitzy Roppongi district and over the last year erected a gigantic tent housing the sauna rooms and three immersive art installations.

“Art is traditionally exhibited in luxurious places like palaces or museums – we wanted to create a luxurious state of mind for people to experience it,” said Takashi Kudo, a teamLab lab member at a demonstration on Saturday.

“TikTok teamLab Reconnect” runs March 22 until the end of August. For $44 on weekdays and $53 on weekends, visitors can dip in and out of the hot rooms and cold showers, and walk inside the artworks sporting only swimming suits.

Japan's teamLab, Tokyo-based digital art group, Roppongi district, art, art installations, museum and sauna, indian express news A staff of teamLab checks a digital artwork titled as ‘Levitation’ during a demonstration of TikTok teamLab Reconnect, digital artwork combined with sauna. (REUTERS/Kim Kyung-Hoon)

The coronavirus means seating in the biggest saunas was cut from 24 to 12 and ventilation was adjusted to meet government standards for air circulation.

Kudo stood under dozens of large, hand-blown glass lamps from Italy. The lamps slowly changed colours from burnt orange to magenta, illuminating dark corridors separating the rooms.

The team said it wanted to affect all senses, including touch, sound and smell. Aromas such as roasted green tea waft through one of the saunas, and white birch in another.

“Nobody goes to an art museum in this fashion because art is art and sauna is sauna,” said Kudo, pointing to his swimming trunks. “What we wanted to try is to combine and offer a very different experience – and a very different experience of this art.”

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Bikaner House: Collaborative in-person exhibitions are back

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Curated by four leading galleries, On | Site returns us to the ‘corporeal’ experience of art

The last time I walked into Bikaner House was just before the lockdown was announced. I saw an exhibition featuring the works of Pooja Iranna and Natraj Sharma. Who knew it would take a whole year for me to come back?

As I walk into the yellow-lit courtyard, a large red banner reading ‘On | Site’ greets me, and I feel a mounting sense of excitement — anticipation not only to see the artworks but also, hopefully, some of the art community.

It is no secret that in a post-pandemic scenario, holding physical exhibitions has been a challenge. This show — which hosts four leading galleries: Vadehra Art Gallery (Delhi), Nature Morte (Delhi), Chemould Prescott Road (Mumbai) and Experimenter (Kolkata) — marks a return to collaborative in-person exhibitions. Albeit with masks, hand sanitisers, and social distancing replacing air kisses with fist bumps.

Desmond Lazaro’s Purusha (graphite on paper)

Desmond Lazaro’s Purusha (graphite on paper)
 
| Photo Credit:
On | Site

The art of contemporary concerns

Inside, I am greeted by the wonderful Drawing Salon and a selection by Experimenter. (Almost all the works displayed at On | Site were created in 2020.) Titled Do You Know How to Start A Fire, the group exhibition of intergenerational women artists features works by Ayesha Sultana (Bangladesh), Biraaj Dodiya (India), Radhika Khimji (Oman) and Reba Hore (India). Next are works of Jitish and Reena Saini Kallat, Atul Dodiya, Arpita Singh, Shilpa Gupta and Sudhir Patwardhan from Vadehra.

Atul’s body of work, titled Evening Walk and Other Paintings, explores an encyclopedic approach to the historical world through the anxieties of ignorance and manufactured, de-intensified sensory experiences. “We hope that people will feel encouraged to visit and enjoy viewing art in person, in a safe environment,” says director Roshini Vadehra.

Jitish Kallat’s Wind Study

Jitish Kallat’s Wind Study
 
| Photo Credit:
On | Site

I want to linger, but it is 7 pm and the guard announces that the gallery would shut its doors soon. Late night openings, with people spilling out of the gallery and on to the lawns, holding aloft glasses of wine, are a thing of the past. So I rush to the next gallery, bumping briefly into Shireen Gandhy of Chemould Gallery and her daughter, as they leave the premises — promising to be back soon when I have more time to spare.

I am soon immersed in the works by Anju Dodiya and BV Doshi, and a Desmond Lazaro gold-and-pigment-laden Dymaxion Map III, which create a non-hierarchical comprehension of the world (devoid of embedded cultural identifiers of up-down, North-South). Shilpa Gupta’s 100 Hand Drawn Maps of my Country documents the differences in people’s ideas of territorial belonging versus the reality, as experienced in Ecuador, India, South Korea, and Israel/Palestine.

Madhvi Subrahmanian’s Twin Mappa Mundi (smoke fired earthernware with 24 karat gold dust)

Madhvi Subrahmanian’s Twin Mappa Mundi (smoke fired earthernware with 24 karat gold dust)
 
| Photo Credit:
On | Site

Meanwhile, Nature Morte showcased the works of three generations of women artists — Mona Rai, Bharti Kher, and Tanya Goel — who proposed abstraction as a correlative to current advancements in science. The gallery also exhibited works by Asim Waqif, LN Tallur, and Martand Khosla.

The exhibition presented a slice of contemporary concerns that go from the extremely personal to larger political statements, all the while keeping an eye on our current times of isolation. Hopefully, it is the beginning of new chapter in art making and viewing that brings a cautious physicality back to art.

On | Site is on at Bikaner House, New Delhi from March 3-9.

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