Nikheel Aphale’s art practice draws on calligraphy with the Devanagari script as his muse. Devanagari is the script of his mother tongue, Marathi, and its sounds and visuals triggered his art practice and study of it. ‘Aksharscape’ is an artistic conceptual landscape of letters from the same script. Aphale’s first solo exhibition in Delhi, at Bikaner House (till June 1) has been hosted by Artisera, an online space dedicated to fine art and artistic luxury. Excerpts from a conversation with the artist:
Why and since when have you been drawn to calligraphy?
My fascination with alphabets began at a very early age. Blessed with neat handwriting, I was the go-to-student for decorating blackboards or creating charts in school. I inherited this good handwriting from my mother, who writes beautifully.
I went on to pursue a BFA in Applied Arts at L.S. Raheja School of Art in Mumbai, where I was introduced to Calligraphy and Typography as part of the curriculum - this was the first time I heard these terms. I was fascinated by how letters alone could express emotions and transform into meaningful visuals. We were also exposed to the works of eminent calligraphers and designers from Mumbai at college. Later, during my post-graduation years at the National Institute of Design (NID), Ahmedabad, I was exposed to the works of international designers and typographers, gaining in-depth knowledge with a global outlook.
All these experiences - from my childhood encounters with blackboard to learning from experts as a young adult, subconsciously directed me towards the path of exploring the‘art of beautiful handwriting’.
Why is Devanagari script in calligraphy the base of his first solo exhibition in Delhi? Is calligraphy so far the art form you have exclusively used to express yourself?
To begin with, I learnt both Latin and Devanagari scripts. But as I further explored the world of calligraphy, I realised that most of the world is aware of Middle Eastern and Eastern calligraphy like Arabic, Persian, Japanese, Chinese, etc. The Latin script is the preferred choice for most calligraphy enthusiasts and beginners. In my mind, I started questioning the position of Devanagari and other Indian scripts at the world calligraphy stage. I couldn’t find a clear answer. The simple thought of showcasing its potential globally drove me towards further exploring this beautiful script, Devanagari.
I am very close to this script in the true sense, as it is the script of my mother tongue, Marathi. Since birth, I have been immersed in its sounds and visual forms, and that has helped me to build a very comforting bond with it. So, choosing Devanagari for my art practice has been an organic evolution and obvious decision.
In India, calligraphy is in popular imagination connected to Urdu literature or Mughal court art form or the Quran. What modern day spheres can calligraphy be used?
I was introduced to calligraphy through my art education, where I was exposed to a distinctive visual aesthetic in which letters take centrestage - whether in art or design. I was drawn to the idea that, without using any illustrations or photographs, letters alone could become a powerful medium of expression and communication.
Today, calligraphy is being used in many commercial domains like branding, logos, book covers, packaging, calendars, wedding invitations, etc.
After learning from, one assumes an Indian master, why were you drawn to the work of Brody Neuenschwander? Can we see examples of his thought in your works in this exhibition?
After a few years of exploring and experimenting with calligraphy, I felt a need to expand my knowledge, refine my skills, and gain exposure to the international (western) calligraphy scene. Attending workshops, learning from masters, and studying with fellow calligraphers from around the world, seemed like a good way to do this. I really admire the work of Brody Neuenschwander. In 2015, I had an opportunity to attend a week-long workshop with him in Bruges, Belgium. That experience gave a new direction to my art practice. Brody opened a new world for me, redefining the meaning of calligraphy in my eyes with an artistic perspective, and introducing a fascinating way of telling stories through the shapes of letters. In 2021-22, I once again enrolled in his online classes, which were more in-depth and advanced.
When I learn any new styles or techniques, I always explore beyond what is been taught - using that learning only as a starting point or a reference so that it doesn’t directly influence my work. This conscious practice helps me in building my own visual language, my own voice!
There are no specific works from this exhibition that are directly influenced by Brody’s teachings, but my overall approach to my art – which is to break the boundaries and conventions of what is perceived as calligraphy and take the beauty of letter forms into an abstract realm – is definitely impacted by his teachings.
Your work is part of the permanent display in India’s new Parliament Building,
I have created an art piece titled Vidya based on the theme of ‘Gyan’, which is one of the eight thematic installations at the gallery in the new parliament building. My artwork is a part of a larger collage featuring multiple scripts, poems, shlokas, created by artists and calligraphers. This project, spearheaded by Jaya Jaitly of Dastkari Haat Samiti, celebrates the history, culture and legacy of India through diverse artistic expressions. I wrote a Sanskrit subhashita in contemporary Devanagari calligraphic style to highlight the continued relevance of ancient wisdom in a modern context - the verse reflects the idea that wealth of knowledge is the most superior wealth of all.
Are calligraphers a dwindling or growing tribe in India? What are the challenges and pleasures of being a calligrapher?
There is a growing community of calligraphy enthusiasts in India, which is a promising and welcome sign. Many people are keen to learn it - some as a hobby, and a few with the intention of pursuing it professionally. Technology, social media, and the accessibility of online classes by experts have made it easier for serious learners to connect with the community and gain knowledge from anywhere in the world.
Calligraphy is still a niche field – and that comes with both advantages and challenges. Lack of awareness is the biggest issue. Introducing calligraphy at an early stage - perhaps in schools - could open more avenues and inspire appreciation for this art form from a young age. With broader reach and greater exposure, audiences are more likely to understand the value and significance of handcrafted lettering.Another challenge lies in the limited availability of quality tools, materials, and resources, which often affects the execution and finesse of the work.Having said that, being a specialist in a niche field has its own benefits. One gets to work on a variety of interesting projects as there are less players.