08 July,2021 05:23 PM IST | Mumbai | Nascimento Pinto
One of the many installations from Khanjan Dalal`s Discourses at Tao Art Gallery. Photo: Tao Art Gallery
After a few months of shutdown due to the second Covid-19 wave, a few galleries are cautiously gearing up to exhibit a variety of shows. While artist Santosh Jain's new exhibition, âShe's in the streets, she's in the stars', began last week, this week, it will be Khanjan Dalal's âDiscourses' at the Tao Art Gallery.
Even though many shows went online and opened up a new realm of art exhibition, Sanjana Shah, creative director, Tao Art Gallery, believes that doing physical shows is irreplaceable and any opportunity to do it shouldn't be wasted. "My calendar for this year was pre-planned and a lot of the exhibits can only be done justice to when viewed in person. Khanjan Dalal's stunning ceramic art is an example of works that is best experienced physically in a gallery space," she explains.
Dalal will explore the theme of masculinity in present times through three different sections in his âDiscourses' this year. The first section employs speech bubbles and chat boxes to study the fragility of conversations. The second, called the âArmour' series, dives deep into the perception of masculinity through muscles and the third is based on the Japanese Samurai culture, which delves into the concept of heroism, glorification of violence to depict love. Dalal depicts them through his sculptures and installations by using ceramics as his medium.
Mid-day.com reached out to the artist to understand the thought process behind the latest exhibition. He discusses the idea of masculinity, his Japanese influence, the pandemic, and the changing medium of exhibitions.
Here are excerpts from the interview:
The three sections you are around âconversations', perception of âmasculinity', and âheroism', which are all very relevant today in different forms. What is your inspiration to create these works and why did you decide to adopt a Foucauldian format?
According to Foucault, small statements make up for most of the discourses in history. For example, the right to protect our country or âMann Ki Baat'. As an exercise to scrutinise these small powerful statements and their impacts on our lives, I use a method that organises groups of information, conversation, speeches, not in a literal way but by creating peculiar shapes and forms. A certain kind of visual abstraction which allows the viewers to have their own interpretation is what I am ultimately looking for.
While evolving conversations and masculinity are all around us today, how did you get introduced to Samurai culture and the concept of Bushido, or "the way of the warror", to make that an important part of your showcase?
I have been collecting Ukiyo-e (Japanese woodblock prints from the Edo era) since the last two years after I came across a couple of prints three years ago of a play called âChushingura'. After conducting some research, I realised that this was the same popular story of 47 Ronin which has been made in to films as well. The story talks of Bushido in a very strong and subtle way. For me, the story became a starting point for digging deeper into the human psyche and certain instinctive behaviour that is prevailing since the beginning of human evolution.
Masculinity is a common theme across the three sections of your work. Do you think the idea of masculinity is changing today and what would you describe as the alternative masculinity?
Frankly, I don't see much change in silverback now versus silverback psychology in the last 10,000 - 20,000 years. We really haven't evolved much in terms of our mental state since much of our discourses have been governed by the Alphas - bringing more destruction and misery to our race. But Covid-19 has changed some of our views about masculinity and heroism. We now see doctors and frontline workers as strong, resilient, and compassionate human beings who are our heroes in real life.
You have worked with a variety of mediums including stoneware, porcelain, teakwood and glass. Why did you choose to use gas-fired ceramics as the medium for these sculptures?
I have been primarily working in ceramics for eight years now. Clay is a very versatile material and it takes a lifetime to achieve some understanding. I have been mainly working with two different types of methods in firing the clay - one is gas fired method where LPG is used as fuel to achieve certain kind of effects through oxidation firing, and the other is a special technology called Anagama firing. It uses wood as fuel source to achieve a plethora of visual and tactile delights by deposits of molten ash on the works and movement of fire. Besides, I also experiment with wood, steel and some unconventional readymade to expand my conceptual horizons.
At a time when many people lacked inspiration, how did you manage to make three sections for your work?
I am like a tree that grows branches in all directions to maximise its solar intake and also as a way of finding a balance. This method allows me to explore many different directions simultaneously. As an inspiration, these are the best times for artists to reflect on humanity and the discourses it produces.
How has the Covid-19 pandemic influenced your work in the last one year? Has it changed your perspective?
I am not particularly conscious about this as it is something that is present anyways in my work subconsciously. However, one thing that I have learned is how to duck police patrol while driving to my studio to continue working, no matter what.
Most exhibitions went online in the last one year and many artists have had to adapt to it. Are you one who prefers the physical gallery over the online medium and do you see yourself adapting to the dual medium of exhibition?
I have been part of two online exhibitions in the last two years and I do feel that art has a very definite physical presence and that experience is irreplaceable. However, adopting new ways of showing art like online exhibitions have worked for some and not for others. It is the reason why I am risking myself to put up this show.
Khanjan Dalal's Discourses will be on display till August 8 between 11 am and 4 pm from Monday to Friday.
The exhibition is available online but those who would like to visit the gallery can do so by booking an appointment on https://www.taoartgallery.com/book-an-appointment
All visitors are required to wear masks and maintain social distancing.
Also Read: A new art exhibition in Mumbai celebrates female characters as the central figure
