<p>Ceramic artist Vinod Kumar Daroz’s work is inspired by the Indian traditions and mythology, where he reinterprets mundane forms of mortar and pestle as a symbol of creation. </p>.<p>The artist, whose work has been chosen for symposiums and exhibitions and also has 13 solo shows to his credit, recently exhibited his creations at ‘All That’s Gold Does Glitter – An Exhibition of Glamorous Ceramics’ in Sands Resorts Macao.</p>.<p>In an interview with Metrolife, he talks about his work.</p>.<p class="Question"><strong>Indian traditions and mythology and the humble mortar and pestle-what is the connection?</strong></p>.<p>The very first sculpture known to us through the world history of art is that of the Venus of Willendorf. This goddess figurine is representative of fertility.</p>.<p>The narrative of the churning of the ocean (Samudra Manthan from Bhagavata Purana) leading to ‘amrita’ or the nectar of immortality can be connected to the movement of mortar and pestle.</p>.<p>They are commonly found in almost every household in India even today. The symbolic meaning signals fertility, abundance and the creation of beautiful things in the environment around us.</p>.<p class="Question"><strong>A common motif in your work...</strong></p>.<p>My works have repetitive floral motifs, connecting to happiness and abundance, in the Shivlinga form.</p>.<p class="Question"><strong>You count Hampi in Karnataka as one of your influences? Why?</strong></p>.<p>I have been interested in the repetitiveness of one form, which amplifies and echoes the concept of the form itself. In ancient sculptures, especially from Hampi, one can find on the mountain ranges the Shahastralings (1000 lingas). My series, ‘Garden of Eden’, has been inspired by the 1,000 lingas and other sculptures from Hampi. </p>.<p class="Question"><strong>Are there youngsters taking to ceramic art?</strong></p>.<p>Yes, there are. Many schools, largely in northern India, have in-house studios exposing students to pottery, terracotta and basic ceramics. However, the possibilities of ceramics can only be explored with consistent practice by an individual.</p>.<p>So while some youngsters may be infatuated with the sensuousness of the materials and techniques but they may not be involved with them passionately in practice.</p>
<p>Ceramic artist Vinod Kumar Daroz’s work is inspired by the Indian traditions and mythology, where he reinterprets mundane forms of mortar and pestle as a symbol of creation. </p>.<p>The artist, whose work has been chosen for symposiums and exhibitions and also has 13 solo shows to his credit, recently exhibited his creations at ‘All That’s Gold Does Glitter – An Exhibition of Glamorous Ceramics’ in Sands Resorts Macao.</p>.<p>In an interview with Metrolife, he talks about his work.</p>.<p class="Question"><strong>Indian traditions and mythology and the humble mortar and pestle-what is the connection?</strong></p>.<p>The very first sculpture known to us through the world history of art is that of the Venus of Willendorf. This goddess figurine is representative of fertility.</p>.<p>The narrative of the churning of the ocean (Samudra Manthan from Bhagavata Purana) leading to ‘amrita’ or the nectar of immortality can be connected to the movement of mortar and pestle.</p>.<p>They are commonly found in almost every household in India even today. The symbolic meaning signals fertility, abundance and the creation of beautiful things in the environment around us.</p>.<p class="Question"><strong>A common motif in your work...</strong></p>.<p>My works have repetitive floral motifs, connecting to happiness and abundance, in the Shivlinga form.</p>.<p class="Question"><strong>You count Hampi in Karnataka as one of your influences? Why?</strong></p>.<p>I have been interested in the repetitiveness of one form, which amplifies and echoes the concept of the form itself. In ancient sculptures, especially from Hampi, one can find on the mountain ranges the Shahastralings (1000 lingas). My series, ‘Garden of Eden’, has been inspired by the 1,000 lingas and other sculptures from Hampi. </p>.<p class="Question"><strong>Are there youngsters taking to ceramic art?</strong></p>.<p>Yes, there are. Many schools, largely in northern India, have in-house studios exposing students to pottery, terracotta and basic ceramics. However, the possibilities of ceramics can only be explored with consistent practice by an individual.</p>.<p>So while some youngsters may be infatuated with the sensuousness of the materials and techniques but they may not be involved with them passionately in practice.</p>
