The fragility of paper, endurance of a word, and the versatility of both. Bangalore -based artist Ravikumar Kashi brings all that together and then something, in our exhibition we do not finish on our sides.
Currently on the performance in the museum of art and photography, the performance is any opposite that you must have faced first. Like delicate and lace, the task seems more crocheted simultaneously than the paper pulp is prepared from pulp. A sensible eye removes the letters of the Kannada alphabet out of the complicated mass of squigles.
Long -lasting attraction
“Ever since I was a student at Art School, I was interested in making paper,” Ravikumar Kashi says, he said that he honored his passion after winning the scholarship in Glasgow School of Art in 2005.
“There, I was able to study the functioning of making paper deeply. My teacher, Jackie Parry,Not only taught me about preparing pulp, making a sheet and casting, but also the artistic exploration of this medium. ,
Artist Ravikumar Kashi
Ravikumar followed it in 2009 with a term in South Korea. “They make paper from mulberry bark, which is quite different and strong.”
After working with paper for more than 25 years, Ravikumar says that his purpose was to master pulp painting. “I spent about five to six years, which were helping to complete the stability and viscosity of the medium, but it was quite challenging.”
Then, in June 2023, while supporting a workshop participant, he stumbled on the correct formula. While making traditional paper is dependent on a VAT and screen, Ravikumar’s idea allowed him to squeeze the pulp from a piping bag.
The artist says, “Continuity is paramount. If it is very water, you will not be able to remove it from the surface on which it is built,” artists call it, whose earlier works were made on the basis of pre -existing basis. The works displayed on the V don’t and at inferior edges are free form and free flowing, such as “a dosa of a grilled”.
move on
Filled with the possibilities opened to this media, Ravikumar says that he began to search with ways to experiment and make.
One work from us is not finished on our edges. Photo Credit: Philip Callia (Map) for Arts and Photography Museum
“With practical aspects, my work reflected material began to decline. In many of my earlier pictures, I will use the text to support the image, sometimes by adding layers to the pieces. Kannada is my mother tongue, it is quite systematic in my work,” they say.
He recalls how he worked on a logo – a window made of letter – the base has been brought to mind the language that is a window through which someone in the world looks out and sees it.
Ravikumar began using the pulp to write. “In my work, paper or container becomes text and material, its normal passive white surface is transferred,” they say.
He says that their paper making method does not include the use of chemicals, but natural plant or textile fiber that has a strong, long -lasting medium.
less is more
In detail at his work, Ravikumar says that “lessons are heavy” in his way of speaking. “I want it to be seen as a visual aid, a metaphor, through which I can bring in other elements, such as the idea of ​​Porcity.”
One work from us is not finished on our edges. Photo Credit: Philip Callia (Map) for Arts and Photography Museum
“We use the language to define ourselves; our mother tongue especially, our identity and comfort become a field. When someone sees these tasks, I want them to respond to the delicate nature of paper, its fragility and short -term nature.”
This idea, they say, bring material and material together, provokes a sensation of surprise in the viewer.
“Visual poetry comes under the definition of material,” Ravikumar says. He says, “One will be referred to in my work, but they stop at the sign of a suggestion.”
show and Tell
The idea of ​​not ending the work that is not finished on our edges “had to emphasize our body, thoughts and feelings, language and so on, to emphasize the idea of ​​Porcity, because we all give and take.”
One work from us is not finished on our edges. Photo Credit: Philip Callia (Map) for Arts and Photography Museum
The liquidity of the pieces on the performance is a will for the ideology of Ravikumar. “These pieces will look different every time, when they are placed for performance, their interpretation varies with the location in which it is displayed, as well as the game of light and shade.
The process of making is quite slow, the artist says that who adds acrylic color to the pulp before starting crafting his pieces. However, there are some, such as a shostopper in a map called Liminal Membrane made of daffne Bush in Nepal, and another piece is prepared from cotton rip pulp, which is in the natural color of beige or white.
The rest of the piece on the display on the map is untitled and is built with a combination of fiber pulp and pigment.
“I in my earlier work, I will try to strengthen the pulp in competition with other materials, but the show exposes the delicate nature of paper,” says artists who plan to work with natural and biological colors in their upcoming compositions.
We do not end on our edges, will be displayed in the museum of art and photography by June 15.
Published – May 28, 2025 07:23 PM IST
