The sculptures by KS Radhakrishnan float mid-air; their bodies twist beyond gravity, and groups of tiny, anonymous forms are gathered and sculpted together to act as subjects of memory, sound, and belongingness. Radhakrishnan gives shape to what cannot be seen.
Currently on view at Chawla Art Gallery, ‘Once Upon a Sculptor’ brings together works spanning decades of the artist’s practice. It runs till April 30. Curated by Shibani Chawla, the exhibition brings together decades of Radhakrishnan’s work, highlighting its emotional and philosophical depth.
Musui and Maiya
Radhakrishnan’s sculptures are based on two figures, Musui and Maiya, who keep appearing across his works in various forms and postures. Each work captures a different state of being—sometimes playful and sometimes contemplative.
The artist’s association with these figures goes back to his student years at Visva-Bharati University in Santiniketan, West Bengal. It was there that he met a young Santhal boy by the roadside. The artist brought the boy to his studio, where he modelled for a sculpture that would later inspire Musui. Their meetings continued for some time, and even after leaving Santiniketan, Radhakrishnan carried the sculpted head with him from one temporary studio to another, always reminded of the boy with an unforgettable smile.
Over the years, Musui became a recurring character in his artistic journey—showing up in multiple sculptures, forms, and embodying different roles. From a traveller pulling a rickshaw, a saviour of souls, an acrobat striking various poses, and more. Now, after years, it seems as if Musui is almost an inseparable part of the artist’s life.
On the other hand, Maya, the female counterpart, came as an extension of the narrative, created to accompany Musui. Her name is drawn from the Bengali word ‘maiya’, commonly used to refer to a girl or a young woman. Together, the two figures allow the artist to explore relationships, balance and deeper meanings of life.
Art in mid-air
Interestingly, many of Radhakrishnan’s works are what he calls “air-bound.” The forms seem to hover in space. Despite the bronze material’s weight, the figures appear weightless, held together by minimal points of contact.
In several works, Radhakrishnan uses clusters of small, featureless figures to represent abstract ideas — of sound of a bell; a memory on a rickshaw, or a representation of human soul. “Memory cannot be sculpted,” he says, “so I find another way to express it.”
Across the exhibition, boats evoke a sense of the artist's childhood in the coastal state of Kerala, while rickshaws recall his time in Kolkata. Meanwhile, recurring depictions of crowds and migrating figures reflect an engagement with movement and displacement.
A life-sized sculpture shows Maiya balancing herself on Musui’s head — her body bends with grace, contradicting the heavy bronze medium. Whereas, below, Musui’s large head remains calm and smiling, with eyes almost closed. His sharp features are softened by the expression.
No shortcuts
Calling sculpture a demanding practice, sculptor K. S. Radhakrishnan emphasises that there are no shortcuts to the craft. “It is really difficult, but at the end of it you have to find something through that hard work,” he says, adding that the process itself can feel like a “nightmare” at times.
He expresses concern over a growing tendency among younger artists to seek quick results, rather than immersing themselves fully in the practice.
According to him, true satisfaction lies in being fully involved in the making process rather than chasing quick results.“Involving yourself gives you tremendous satisfaction,” he says, stressing that true fulfillment lies in committing to the process rather than chasing outcomes. The exhibition is a must-visit for art lovers but oddly enough can be visited only by prior appointment.