Art Ichol Journal

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Maggie Baxter water’s edge (ideas and sketches) photo credit: amitabha bhattacharya
Detour to Kutch There weren’t any sheep contentedly grazing but still I would describe Maihar as bucolic. Idylls are more often the experience of the visitor rather than the local, but places and spaces around the <strong>Art</strong> <strong>Ichol</strong> residency were, for me, idealistically picturesque and serene, especially compared to the arid scrub (albeit sheep and goat filled) of Kutch - my regular India haunt. There was the languid day of perfect winter warmth sitting on thick grass at ‘Amariya - The Writers’ Retreat’, absorbing the quiet stillness of the barely flowing River Tamas, with the calming aural backdrop thud of clothes being rhythmically washed, while I drew rushes and reeds from the water’s edge. What could be more perfect? Answer: the sunset infusing the dark green water with red, orange, pink, yellow. The photographers in our group were in a state of frenetic, precariously balanced brinkmanship, on top of the riverbank as the light changed second by second. The evening before, the blush was subtler - over an equally tranquil lake edged and strewn with a delicate, irregular mesh of decaying plant matter. rushes at amariya photo credit: gopika nath On the final day, those of us that went did not want to leave the Rampur plateau with its picture-perfect vista of dense forest vegetation softened by winter mist. We accessed the plateau through temple chambers in which the natural light was perfect for photographic portraits of Tanya, Shalini, the local temple boy and me. All of us willing models. Luckily, to ensure that we were not completely sucked into an out of control vortex of Arcadian cliché, Maihar also surprises with micro landscapes of flat, craggy stone, deconstructing temples, limestone quarries, dust filled industrial stone-crushing, and the intense heat and fire of melting and re-forming old pots and utensils. The photographers had the advantage capturing numerous permutations of each of these and any other scenario that triggered their imagination, in a flash and a click, while I developed a serious bout of camera envy. In spite of always being highly critical of out-of-focus, misty photography peddled as ‘interesting’ and ‘artistic’, I now find myself in this position, courtesy of an iphone not quite equal to the photographic
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Journal MMXIV Volume One
Page 4 and 5: Editor: Gopika Nath Editorial assis
Page 6 and 7: Contents Scavenger’s Trick Naraya
Page 8 and 9: Editor’s Note Art Ichol has been
Page 11: The Residency
Page 14 and 15: Arshiya Sethi art ichol at night ph
Page 16 and 17: Arshiya Sethi It has a chhatri and
Page 18 and 19: Arshiya Sethi stage at art ichol ph
Page 20 and 21: Sudeep Sen
Page 22 and 23: Sudeep Sen Under Maihar Night Sky D
Page 24 and 25: Sudeep Sen secret garden. The walls
Page 26 and 27: Sudeep Sen
Page 28 and 29: Sudeep Sen Indian Dessert Clumps of
Page 30 and 31: Shalini Jaikaria
Page 32: Shalini Jaikaria inspired by these
Page 35 and 36: photo credit: amitabha bhattacharya
Page 37 and 38: Renewal of Spirit the pond differen
Page 39 and 40: Renewal of Spirit Shalini Jaikaria
Page 41 and 42: Tree, Bandhavgarh National Park The
Page 43 and 44: The Photographer’s Brush Branch m
Page 45 and 46: The Photographer’s Brush Safari s
Page 47 and 48: The Photographer’s Brush Untitled
Page 49 and 50: The Story Teller Growing up in Raja
Page 51 and 52: The Story Teller I was intrigued. I
Page 53: The Story Teller When the Maihar ba
Page 57 and 58: Detour to Kutch demands I imposed o
Page 59 and 60: Detour to Kutch opportunity for int
Page 61 and 62: Detour to Kutch water’s edge (mai
Page 63 and 64: Chasing the Sunset As one of the ei
Page 65 and 66: Chasing the Sunset Post our appetiz
Page 67 and 68: Chasing the Sunset Seated in the SU
Page 69 and 70: Poetics of Passion I recall well th
Page 71 and 72: Poetics of Passion people would rep
Page 73 and 74: Poetics of Passion self as she brok
Page 75 and 76: The Furnace at Uchhehra The first t
Page 77 and 78: The Furnace at Uchhehra it made bet
Page 79 and 80: The Furnace at Uchhehra He promised
Page 81 and 82: The Furnace at Uchhehra the front-s
Page 83 and 84: The Furnace at Uchhehra that I visi
Page 85: The Hada at Uchhehra Again and agai
Page 89: Making of Ichol
Page 92 and 93: Ambica Beri photo credit: gopika na
Page 94 and 95: Ambica Beri photo courtesy: art ich
Page 96 and 97: Ambica Beri photo credit: amitabha
Page 98 and 99: Ambica Beri photo courtesy: art ich
Page 100 and 101: Ambica Beri photo credit: srimallya
Page 102 and 103: Suraj P. Subherwal (1930 - 2015) Zg
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Suraj P. Subherwal photo courtesy:
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Suraj P. Subherwal working in torch
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Suraj P. Subherwal photo credit: am
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Narayan Sinha photo credit: srimall
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Narayan Sinha photo courtesy: art i
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Narayan Sinha photo credit: srimall
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Narayan Sinha photo courtesy: art i
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Salamat Khan photo credit: sudharak
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Salamat Khan EH$ ~ma Eogm ^r hþAm
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Aditya Beri photo credit: sudeep se
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Aditya Beri Tiwari ji. Salamat and
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Anshuman Beri photo credit: bandeep
Page 129:
The Album
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The Album
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The Ceramic Centre
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The Kiln Gods The idea of a Ceramic
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The Kiln Gods Aditi’s concept was
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The Kiln Gods Bhavan and a very abl
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The Kiln Gods On their return the w
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Gallery Sanskriti based in Kolkata
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july ‘THEN AND NOW’ Drawings on
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‘FRAMED NARRATIVES’ NARAYAN SIN
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Ra o’s draw ings com mu nicate th
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