I started painting soon after I was married and had my first solo show in 1970. This comprised 40 oil paintings depicting Ganesh in various forms. In 1986, when my daughter wanted to study clay, I inadvertently fell in love with ceramics in trying to help set up a studio for her. I was fortunate to study the complex craft of ceramics under Prof. DV Morray, Government College of Art and Craft in Kolkata and attend the School of the Museum of Fine Arts in Boston with my daughter, where I fell in love with Raku, a Japanese firing technique. Always having loved experimenting, Raku firing was so alluring because of its excitement and unpredictability.
The process of Raku firing differs from other firing methods because the pots are removed from the kiln at their maximum temperature.
The unique look of Japanese Raku pottery is achieved by utilising both smoke and fire in the Raku kiln to create an unpredictable and unique style. First, the pottery is bisque fired, then glazed and fired in a Raku kiln followed by enhancement in a reduction chamber. As opposed to normal pottery firing, where the wares cool down slowly in the kiln and are removed with gloves, Raku ware is removed immediately with tongs.
More than anything else, Raku teaches you how to explore more mediums, fearlessly. In 1999, I naturallymoved towards glass. Initially, I learned by reading and experimenting in glass using the clay kilns in my studio. Later, I honed my skills by attending workshops at Penland School of Craft, North Carolina and at Urban Glass and Corning Studios, in New York, where I discovered and learnt glass-blowing and kiln casting.
The sculptures in my recent exhibitions have all been made with glass, and the heat of the kiln is the main method of forming. This method, “kiln formed glass”, consists of kiln casting, slumping, fusing and pâte de verre. I have used all of these techniques in my recent work and have also hand-blown a few pieces; the larger Ganeshas have all been made using the kiln casting method.
For me, kiln casting is an almost magical technique because even though the piece emerges solid and static, there is the feeling of fluidity and it is as if the piece is radiating its own light.
The process starts with making a model of clay or wax from which a refractory mould is made of silica and plaster, so that it can withstand high temperatures. Once this mould is dry, I add crystal glass along with some oxides or crushed coloured rods, and then put the mould in the kiln. The firing of the kiln is tightly controlled by a computer, and it takes about two-to-four weeks, depending on the size, for the piece to get fired and annealed. When kiln-forming glass, especially large-scale work, it is critical to cool the glass uniformly throughout the annealing range. The glass melts and takes the shape of the mould. Once it comes to room temperature, it is taken out of the kiln and finally the mould is broken and the glass sculpture emerges.
My next showcasing in the India Habitat Centre is on the September 17, 2015, where I will once again return to the anthropomorphic form of Ganesha that I began my art career with. The mediums of expression have changed from oil to ceramic to glass, but my emotions towards the craft shall always remain the same.
Jalan is a 75-year-old mixed-media artist and an expert in ancient ceramic art forms