Aikyam, or oneness, is ceramist Vinod Daroz’s labour of affection for almost 4 years. The exhibition on show at Hyderabad’s Kalakriti Artwork Gallery showcases a variety of his ceramic sculptures; a couple of standalone three-dimensional sculptures apart, a number of smaller works come collectively to kind wall-mounted installations of assorted sorts, every narrating a narrative. His work is a mix of Indian and oriental aesthetics. He makes use of motifs of South Indian temples as metaphors to debate gender points. 

Mortar and pestle, Shiva lingam, abhisheka kalasam, designs on temple murals, gopurams and the interior sanctum discover illustration in his work: “Within the final 15 years, I’ve steadily visited temples in Kanchipuram, Srisailam and different cities; I take again new observations every time.” 

On events, he’s fortunate to take pictures as reference factors. Many a time, pictures is prohibited and he depends on his “photographic reminiscence”. Pointing to a collection of lattice-like patterns, he traces it again to a temple in Srisailam the place he noticed the same sample. “I couldn’t take pictures, however what I noticed there stayed with me.”

The concept of the masculine and the female co-existing is the theme of Aikyam. The recurring mortar and pestle motifs underline this co-existence of genders; the artist additionally makes use of motifs corresponding to egg, pupa, butterfly, buds and blooms to symbolize procreation and metamorphosis. There’s additionally the underlying thematic convergence of Shiva and Shakti to indicate oneness. 

The varieties are mounted on backgrounds as various as small cushion-shaped sculptures to butterfly patterns, indicating each fragility and energy. One of many installations has 75 artworks mounted on particular person butterfly-shaped backgrounds. “I needed to show 100 in all, however given the area, selected 75,” says Daroz.

An set up of 75 ceramic artworks by Vinod Daroz

The visible language isn’t monotonous. The varieties are various and so are the colors. Daroz’s work is distinct for its use of putting colors, usually accentuated with golden-hued smaller components that work as gildings.

Born and raised in a goldsmith household in Kalwakurthy close to Hyderabad, Daroz lives and works in Vadodara. The work that has emerged from his studio in Vadodara has helped him forge collaborations with ceramic artists and galleries in China, Macau and Thailand, amongst different nations.

Trial by fireplace

“Neither me nor my spouse use gold for its decorative worth, however I exploit 24 karat gold in a few of my artworks. It’s costly and a danger once I use it for firing and it doesn’t end up the best way I need it to,” he says. He works with a fuel and electrical kiln and makes his personal color glazes. “There are readymade glazes accessible these days however I make my very own colors in order that I can work with a wider color palette.”

A number of the artworks by Vinod Daroz

Areas surrounding Rajkot, Vadodara and different cities in Gujarat, he explains, are hotspots for mining and {hardware} industries, which makes it simpler to get chemical substances to arrange glazes. The colors he has used for Aikyam embody turquoise, mint greens, a number of shades of blue, lemon yellows, pastel pinks and browns. A number of the artworks use a mix of colors: “Lots is dependent upon the firing course of. A discount firing yields a special color from an oxidation firing.” Curatorial advisor Lina Vincent aptly describes such ceramic artwork as a coming collectively of the earth (clay), fireplace, water and air.

The oriental play of blue and white has additionally discovered its approach into his work, due to his frequent visits to China earlier than the pandemic. He recollects his go to to Jingdezhen, the porcelain metropolis of China the place a number of European artists established their studios: “It’s a enormous useful resource for any ceramic artist. You get assist from mannequin and mold makers, slip casters… you identify it.” Having already exhibited in China and Macau, he hopes to revisit the nations post-pandemic.

One other set up makes use of ornate photographic frames mounted with artworks, as if supposed to be a reminiscence for the ages. Artwork, explains the artist, is a private expression however fortunately there are artwork collectors who recognise ceramics past its utilitarian worth: “A number of the artworks are time-consuming. Regardless of engaged on Aikyam for greater than three years, I used to be not happy. Till the day I packed to go away for Hyderabad, I used to be working within the studio.”

(Aikyam is on view at Kalakriti artwork gallery, Hyderabad, until March 27)