Art Ichol Journal

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Editor’s Note Art Ichol has been conceived as a centre to nurture the creative spirit. In long hours spent in Maihar, away from the buzz of a large metropolis like Delhi or Kolkata, Ambica Beri drew upon her experience as gallerist, her engagement with painters, sculptors, ceramicists and other creative individuals over the past two decades, to envision a world-class art centre in the heart of rural and small-town India. Rich in history and lush landscape - from rivers, lotus ponds and mountain-scapes, as well as the famed temples of Khajuraho, forest reserve at Panna and tiger safaris at Bandhavgarh, the Art Ichol centre lies within easy reach of much natural beauty and an alluring cultural past. The inaugural residency of the centre took place in December 2014. It saw the flowering of many ideas and the interaction between artists, poets, designers, film-makers and photographers. It was an incredibly fertile exchange that affirmed Ambica Beri’s foresight and vision. This journal was born out of what she saw unfolding through the eight day residency - the interdisciplinary dialogues and passionate, creative responses to space, light, nature and history. It is therefore presented as an informal journey of experience. All this energy and burgeoning of creative ideas has translated into a visually and experientially lush publication. We have Bandeep Singh painting with the lens, as if it were a brush. His images are accompanied by Haikus. Sudeep Sen uses the poetic in colourful images and evocative words that conjure up the night sky in Maihar. Shalini Jaikaria has translated her experiences, almost in the form of a designer’s journal, where many elements that enthralled her are incorporated in a multi-layered scarf-design. Sapna Bhatia, the story-teller, fascinated by the making of Art Ichol has added this story to her on-line portal www.bringhomestories.com. Maggie Baxter, who joined us from Perth in Australia, was busy sketching her minimal line drawings that will eventually find their way into the hands of Kuttchi craftsmen to be block-printed and embroidered. I abandoned needle and thread for pen and ink and drew after what seemed like centuries. Arshiya Sethi rekindled the dancer in her and regaled us with elegant abhinaya at whim, inspired by the stage at Ichol or the nostalgia of an era gone by in the Maihar Palace. Amitabha Bhattacharya, whom all of us fondly refer to as ‘Dada’ or elder brother, was the gracious lensman who recorded the subtle
nuances of our every gesture and footstep, equally generous in sharing informed tips on lighting and other photography techniques. Bhavana Sabherwal, who added her lyrical voice to our musical evenings around the bonfire, also shares a behind-the-scene view of watching Art Ichol become what it is today. The making of Art Ichol has many fascinating stories and a special section has been devoted to this, along with a photo-archive of the many artists and potters who have stayed at Maihar. Replete with personal essays, photo albums that say more than words often can, photo essays, poems and much more, the journal promises to be a treat for the senses - evoking the energy and fervour of creativity, which the environment in and around Art Ichol inspired and brought forth.
Page 2 and 3: Journal MMXIV Volume One
Page 4 and 5: Editor: Gopika Nath Editorial assis
Page 6 and 7: Contents Scavenger’s Trick Naraya
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 and 54: The Story Teller When the Maihar ba
Page 55 and 56: Detour to Kutch There weren’t any
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
Page 104 and 105:
Suraj P. Subherwal photo courtesy:
Page 106 and 107:
Suraj P. Subherwal working in torch
Page 108 and 109:
Suraj P. Subherwal photo credit: am
Page 110 and 111:
Narayan Sinha photo credit: srimall
Page 112 and 113:
Narayan Sinha photo courtesy: art i
Page 114 and 115:
Narayan Sinha photo credit: srimall
Page 116 and 117:
Narayan Sinha photo courtesy: art i
Page 118 and 119:
Salamat Khan photo credit: sudharak
Page 120 and 121:
Salamat Khan EH$ ~ma Eogm ^r hþAm
Page 122 and 123:
Aditya Beri photo credit: sudeep se
Page 124 and 125:
Aditya Beri Tiwari ji. Salamat and
Page 126 and 127:
Anshuman Beri photo credit: bandeep
Page 129:
The Album
Page 133:
The Album
Page 137 and 138:
The Ceramic Centre
Page 139 and 140:
The Kiln Gods The idea of a Ceramic
Page 141 and 142:
The Kiln Gods Aditi’s concept was
Page 143 and 144:
The Kiln Gods Bhavan and a very abl
Page 145:
The Kiln Gods On their return the w
Page 148 and 149:
Gallery Sanskriti based in Kolkata
Page 150 and 151:
july ‘THEN AND NOW’ Drawings on
Page 152 and 153:
‘FRAMED NARRATIVES’ NARAYAN SIN
Page 154:
Ra o’s draw ings com mu nicate th
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