Tessellations, geometries in nature, and folding techniques fascinate him. For Delhi-based Ankon Mitra, an architect by education and an origami artist by passion, paper sculpting is a fulfilling creative conduit. His latest solo show, A Pilgrim’s Progress, which was held in New Delhi recently, was his exploration of the folded universe of origami in 15 materials, at a point when he has completed 15 years of origami practice.
“Paper is one of the most versatile materials. It is affordable and available easily, combining strength, flexibility, and high precision. Both fragile and very robust, it can be cut, wet-moulded, sculpted, scratched, crumpled, creased, rolled, torn, painted over, joined to itself and other sheets with ease as well as preserved so well that full-scale structures and architecture can be created,” says Ankon. “Working with this material sparks the imagination and opens dimensions of thinking.” He confesses that though all his explorations start with paper, they do not necessarily end with it. “Paper is the perfect material for exploring complex geometries and then final works can be created in metal, stone, concrete, glass, resin, leather, anything.” From Lokta paper from Nepal to Cordenon cardstock from France, hand-made cotton rag paper from Tara Gram, Madhya Pradesh, to Fabriano paper from Italy, from washi paper from Awagami, Japan to stone paper from the Netherlands, he has experimented with all textures.
'The Forest Peacock' is a collaboration with Tholu-Bommalata (shadow puppetry) artist Anjanappa from Nimmalakunta village, Dharmavaram, Anantapur, Andhra Pradesh. A dialogue between two peacocks on parchment leather that has been folded to give the expression of an ancient scroll or palimpsest. “The light coming through the work signifies a look at mythology, indigenous forest culture and a deep appreciation and respect for nature: all things threatened by man. 'The Golden Fruit' is an ode to the splendour of the mango. “Our eyes light up when we savour the fruit, making me light up the creation,” he adds. The magic of inserting light into an origami creation celebrates the grains and textures layered within, variable thicknesses showing up as light and dark spots, and when combined with folds reveal a mosaic of brightness and shadows. A surreal play. “It is almost a feeling of not folding paper, but of folding the light itself,” muses Ankon.
'An audacious dream of Utopia' brings in breathtakingly intricate lines. “This work was first conceptualised with the interior designer Joya Nandurdikar for a little girl’s room,” shares Ankon. “The bird's forms were meant to inspire and fill her with positive energy. Our children are like caged birds presently as the education system stresses on rote learning. The superfluous lifestyle of flashy fashion, high-tech gadgets, unending parties and material wealth, creates an environment where we seed unhappiness and despair. In this work I imagine a world where children find meaning in the work that they do, in the life that they lead, flying towards a dream where they are one with the creatures of the earth, and their actions enrich the planet.”
What’s next? “The Venice Art Biennale! Also, it is my dream to set up an Origami University. I will be very happy when Origami is begun to be taught as a link subject in our schools and not as a craft subject of little or no relevance. This to me, is the most audacious dream of Utopia.”