Contemporary artist Rahul Kumar left the predictability of his corporate job, embracing uncertainty on an adventure as an artist.
I stumbled upon clay as a 17-year-old. It was love at first sight! Clay as a medium is humbling. It is the biggest leveller. The moment the creator’s ego creeps in, clay throws you completely off the track. It breaks and cracks, and the possibility of that happening exists at every stage of the process.
What is the primary role of an artist? How do you describe yourself in the context of challenging people’s perspectives via your work and art?
I feel one chooses a medium to express, to tell a story. There is this innate need for me to say what I have to say, explore, experiment, and play. And I say it the best using clay, and so I call myself a ceramic artist. Others may choose text, paint, drama, or dance and that becomes their medium to talk to the world. A good work of art then is one that allows for this to be interpreted, leaves room for the viewer to make it their own. As the creator I give clues, leave enough context, sometimes with the title of the work and at other times how I treat the surface. But a work that provides only one way for it to be seen is too rigid and becomes boring quickly. There is hardly any scope for engagement.
Memory keeper 5. 11 x 11 x 4 inch. Stoneware clay.
How do you deal with the conceptual difficulty and uncertainty of creating work?
My practice originates from the medium and the process of clay. Aesthetics is always based on a conceptual enquiry, but I would never call my work conceptual, the way the term is understood. Clay is probably one medium where the maker can never entirely predict the outcome, nor can they claim full credit for what gets made. One makes choices at every step; over time with experience one may be able to control the process better, but it can never be complete control. And one has to not just accept but embrace this uncertainty.
Achrome 2. Porcelain clay.
Let’s talk about the evolution of your practice over the years. Tell us about your commitment to your current medium.
I have been working with clay for 24 years now. Like most clay practitioners, I too started to train as a studio potter, learnt to prepare clay and throw functional pots on the wheel and then glaze them. Once I gained proficiency in working on the wheel, I felt it was limiting, though I was never able to put a finger on what was it about that process that was bothering me. Only after I studied art formally, an MFA on Fulbright scholarship, that I learnt to express through my works. It is only then that my journey as an artist began, about 10 years back. I continued to use clay, and created forms with a whole new layer of story open to be interpreted. Over the past two years I have further pushed myself to move beyond the vessel, and I am increasingly interested in combining other media like paper and metal with my work.
Harmonic Discord 11. Stoneware clay.
Let’s talk about your career, or if you prefer artistic journey. What were your biggest lessons and hiccups along the way?
I stumbled upon clay as a 17-year-old. It was love at first sight! Clay as a medium is humbling. It is the biggest leveller. The moment the creator’s ego creeps in, clay throws you completely off the track. It breaks and cracks, and the possibility of that happening exists at every stage of the process. There are innumerable instances in the journey so far that leave you feeling enriched. When I began my clay journey, we had no equipment and material access, no books or tools available for ceramics. And I am talking about the time when even the Internet had not taken over our lives. So, hiccups would be an understatement.
Harmonic Discord 2. Stoneware clay.
How does your audience interact and react to your work?
As mentioned, I leave enough clues for my viewers to know my intent, but there is still ample room for people to engage with my work, interpret it how they have seen life and forms around them. That for me is crucial.
Who are your maestros? Whose journey would you want to read about?
I love the tabla of Zakir Hussain, buildings of Charles Correa, paintings of Jackson Pollock. I am intrigued by the aerial view of the city from my airplane window, by the sun going down behind my favourite mountain in the hills of north India. I am drawn to the crisscrossing lines formed by the waves on a beach, by the white trail in the sky left by a jet. I can go on, but the point I am trying to make is that for a creative person, there is beauty in everything. And it need not even be confined to the classical definition of beauty, but all these and a lot more are sources of inspiration for me. Oh, and of course, there are several ceramic artists too!
Rotation 1, 15 in diameter, stoneware clay, stain, gold-leaf.
How do you deal with the duality of being an artist and balance the conflict between the commercial and the creative? How does your interaction with a curator, gallery or client evolve?
To a great extent that is somewhat resolved for me due to my corporate past. I also have an MBA degree with 20 years of hardcore mainstream corporate experience, which I gave up four years back. I waited to pay off my home loan and saved some money before I took the plunge. Further, I continue to write as an art journalist, and that is a source of income that allows me to not depend on my art to pay the bills. I am represented by a gallery, Exhibit320. It was extremely important for me to align with the vision of the gallery. I get complete support from them to place my works. There are occasions when I am encouraged by my gallerist or a curator to make certain kind of work, but I always have the freedom to make that choice. I almost never accept commissioned requests. So, the liberty with which I like to create remains intact and I feel blessed about that.
What was your first sale? Do you handle the commercials yourself or is it outsourced to a gallery or an agent?
My first sale was a bowl that was literally hot, just out of a kiln. Gurcharan Singh, the father of studio pottery in India was present when we were unloading the kiln and he offered me Rs. 100 for it. It was a significant amount in 1995, but I was happy that someone wanted to have it, and not just anyone, but the man himself. It is still part of his collection managed by the Delhi Blue Pottery Trust. As I have mentioned, I am represented by a gallery. I would not call them my agent or the relationship as outsourcing. I feel my gallery is a partner that helps in contextualising my work. It is my sounding board and a support system for my art practice. I trust their guidance.
Harmonic Discord 15. Contemporary artist Rahul Kumar. Stoneware clay.
Think of the biggest professional risk you have taken. What helped you take that risk?
To leave a super well-paying corporate job! But as an artist, each and every work I make is an experiment. And that is not just the way the clay process is, but also my approach to making works. I sincerely hope that this never stops. How boring and mechanical it would be to make it predictable! I think it is a state of mind and that helps me the most. I owe it to myself first, to surprise and impress myself.
Achrome 1. Contemporary artist Rahul Kumar. Porcelain clay.
What is the best piece of advice you have received? Why was it helpful?
Oh, this list could take a while, but I know ‘best’ means one! But I will cheat and mention two: First, you can never become an artist by seeing art. This came to me from my teacher. Second, it is not about a successful work ever, it is about your commitment for the cause, concern, and the practice that counts. This was a casual remark by a fellow artist over a cup of coffee. I deeply admire his work and respect him for his views.
Tell us about your studio. What kind of place is it? Could you describe your usual work day in the studio?
It is a modest apartment and a humble single room within that. It has two kilns, three wheels, a slab-roller, an extruder, a stock of clay, and works in progress. Yes, you guessed it – there is barely much space left to walk around. I do not work in my studio every day. But when I do, almost always I know what I want to make and how I will approach it. I think all that before I touch clay. Things change as I go along, but a lot of this is planned in advance.
Installation detail of circle uncircled. Contemporary artist Rahul Kumar. Stoneware clay. 30 ft x 10 ft.
Are you more of a studio artist or naturally collaborative by nature? How do you feel about commissions?
I have collaborated in past. They have always been extremely rewarding. Yes, due to poor ethics of the collaborator things have not always ended on a high note, but that is part and parcel of life. As mentioned earlier, I do not like to work on commissioned requests. I rarely accept them, and do so only when I am sure the collector is capable of visualising what I intend to make.
What are you working on now? What’s coming next season?
I am part of a curated show to take place later in the year. I am just about beginning to plan work for that. But before that, an installation will be presented in Delhi as part of a show where architects, designers, and artists are invited to react to a theme. I am looking forward to that.
For enquiries contact: rahulclaystudio@gmail.com
Before you go – you might like to browse our Artist Interviews. Interviews of artists and outliers on how to be an artist. Contemporary artists on the source of their creative inspiration.