Gayathri Narayanan Kondath
Being an Indian and coming from a culturally bound country where every other day is celebrated with ritualistic and visual performances, my practice took me into those very roots, making me realise how deeply connected I am to my culture and traditions. Art, in general has always been a big part of my life, as every day passes either by seeing an art form or learning one. Even though my previous educational qualifications have no connection with art, my heart was inclined to art and always tried to have connections with art.
My journey with clay began in the year 2011 and when I started my own ceramic studio in 2019, I would have described myself as a ceramic artist and a potter running a ceramic production studio with a customer base of architects and interior designers, where my husband and myself produced and created products based on the need of our clients and customers. But now, I would like to describe myself as an artist who uses clay as a medium to create thought provoking pieces of art making the audience active spectators. My practice has been one of self discovery and also to find out the meaning of why and what I create. It has also helped me to transform myself and weave my thoughts and ideas into that transformational practice. My practice has ventured into crochet, video installation, photography/macro photography, performance and relational art. I try to find a balance in combining all these mediums with clay, which becomes the primary element to bring out my unheard voices.
Description of the work
‘Maya- The Play’ is a work created by combining clay and crochet. The idea originated when I found out the similarities between clay and crochet where both of them resonates the idea of rebirth. Through recycling, clay can be born again, can be moulded into different shapes and forms. Similarly if crochet is unlooped, it can be made into many other similar or different shapes. Looping the unfired clay pieces into the yarns and threads, I have created a garden of liberation where the audience is given the opportunity to unloop the threads of the crochet and liberate the clay pieces from the bondage of permanent fired state.