KOCHI: In the quiet corners of Kottayam, amidst the hum of rain and the gentle rustle of trees, a small cowshed once came alive with the clinking of clay and the murmur of a man shaping his dreams. That man was Alex Chandy — a sculptor, potter, and storyteller who carved his own school of thought, unbound by conventional norms or the rigid structures of academia.
Alex’s journey into art began humbly, not with chisels or brushes but with a heart tuned to creativity. “During my school days, I had an affinity for all art forms,” he recalls.
“I was always the one taking home certificates from art competitions.” Yet, like many artists, the practicalities of life pulled him in a different direction. Specialising in visual communication, Alex navigated through jobs that paid the bills but left his soul yearning for something more.
After college, he found himself volunteering with an NGO in Delhi, collaborating with like-minded individuals from prestigious institutions like NID and NIT. Together, they brought art into schools, crafting projects that transformed classrooms into vibrant spaces of learning. “This taught me a vital lesson,” Alex says.
“Find work to fuel your passion.” That philosophy became a cornerstone of his life.
But life isn’t always about art and ambition. When tragedy struck with the loss of his elder brother, Alex returned to Kerala, leaving behind his burgeoning art career. He found solace in design consultancy, working on advertising campaigns for brands like Scoobeedoo bags. Yet, the call of clay was too strong to ignore.
“I didn’t want to study art at another university,” he says. Instead, he rented a cowshed — a space as humble as his beginnings — and began learning pottery from traditional potters. It was an unorthodox move, but one rooted in determination. “I was born at midnight on Christmas, so maybe that’s why I was drawn to a cowshed,” he laughs.
With time and practice, that cowshed became a crucible of creativity. By the mid-1990s, Chirath Studio Potters, Alex’s initiative, was celebrated as one of India’s finest studio pottery ventures. His pieces weren’t mass-produced but meticulously crafted, each a testament to his philosophy of creating art with intention.
The journey, however, wasn’t without its struggles. Limited funds and resources often loomed large, but Alex’s resolve was unwavering. “We had to find our own path,” he says. “No gurus, no teachers — just mistakes, learning, and growth.”
As the years rolled on, Alex’s art evolved. He shifted from pottery to monumental sculptures and installations, driven by a desire to push boundaries. In 2005, he built his own studio, Green August on the outskirts of Aluva where one of his most ambitious projects was a sculpture inspired by Michelangelo’s The Last Judgment for Madre De Deus Pilgrim Church in Thiruvanantapuram. Spanning 60 metres and featuring 200 larger-than-life figures, the project took two years to complete and demanded extraordinary teamwork. “It was a school in itself,” Alex reflects.
Moving from one medium to another, he always has a strong meaning to pursue.
During one of his boat journeys, fate brought him face-to-face with an old school friend. The friend recognised Alex and pulled him aside for a chat. What followed was a heart-wrenching confession that left his friend in tears. The friend’s father, a candle maker, had passed away, leaving him to take over the business, which had since fallen into ruin. Struggling with financial losses and desperate to start anew, the friend was planning to move to Dubai but needed emergency funds to make the journey.
Moved by the story, Alex extended his help, purchasing a ticket to Dubai for his friend. In return, his friend gave him several cartons of colourful candles — his only possession of value. For months, the candles remained under Alex’s bed, forgotten and collecting dust. But one day, a thought sparked in his mind. Candles, often lit in churches, were symbols of hope, prayers, and tears. These candles, too, had a story to tell — a tale of struggles, resilience, and survival.
This revelation marked the beginning of Tears and Wax, one of Alex’s most experimental and spiritual projects. By melting the colourful candles interwoven with prayers and tears of people outside churches, he created slabs of vibrant, textured art — each piece a reflection of human emotion.
Tears and Wax became a signature medium for Alex, embodying the complexities of life through its fragile yet enduring nature. His first Biennale exhibition in 2012 showcased these works alongside sand sculptures of the Dandi March with an architectural proposal of Kalaman. His statement was clear: “My medium is my message.” Whether working with clay, metal, moss or wax, Alex’s art always seeks to connect — emotionally, spiritually, and environmentally.
Alex’s creativity extends to natural mediums like moss and his decade-long project, Mystic Anthropology, where scratched well walls tell a photographed, ongoing story. He is also preparing to publish two books exploring his art’s deeper meaning, with many of his contemporary works reimagined as dynamic ‘blobs’ on canvases.
His recent work, Presence of Absence in Man, takes this ethos further. Collaborating again with visually impaired children, Alex guided them to create a profound piece ‘Killi aana’ (bird-elephant)’ and clay miniatures that were proudly exhibited at Durbar Hall. “These kids were thrilled,” he shares. “They touched the sculptures, explored them, and claimed the gallery as their own.”
For over three decades, Alex has defied conventions, choosing to walk his own path in art. And for those who experience his work, one thing becomes clear: Alex Chandy doesn’t just make art; he sculpts stories.