Ranjani shettar biography

RS: Ecological concerns have been the bedrock for me from the beginning, part of my understanding and practice for a very long time, ever since I started exhibiting professionally. Just like my sculptures, my titles are also abstract. My sculptures have multiple ways to look at them and multiple references, and the titles can do the same thing.

Sometime they come easily. Sometime I have a general feeling of what I want to say, then I have to come up with a title that says what I am feeling. BW: You use a range of materials and processes, some from traditional Indian crafts. Some works are fragile, while others are robust. How do you decide? Is there a dialogue between materials and ideas as you are making?

RS: In sculpture, some of the more technical aspects become embedded in the process, for instance, one has to take care of the stability of the work. There are two ways that I approach it. Sometimes I know what I want, and I go looking for a material that will lend itself to being used in that way; then, I manipulate it to do what I want. Other times, I completely submit myself to a material and see what is possible with it, taking it to the extreme, to the limits of what it can do.

Wherever I go, if I see a material that interests me, I collect a sample, store it, and research it. It takes me a long time before I get to grips with a material. It takes time to match the idea and be convincing from many perspectives, and it has to be a sustainable material. The way that you conjoin techniques and materials is mostly drawn from sources local to where you work.

Can you say something about that context? RS: I feel that when a technique is passed on from generation to generation, there is a kind of refinement that happens over time, which is beautiful. It takes time to develop a new technique, so I look at these craft traditions as a repertoire of inspiring processes. BW: The works that you made for this installation are reminiscent of seed pods, or enlarged cellular structures.

There is a sense of energy flowing through them. Shettar uses natural materials like jute, paper, and stone to create artworks that explore themes of time, memory, and identity. In addition, her installation Confluence was featured in the Kochi-Muziris Biennale. Ranjani Shettar's works are in the collections of multiple national and international art museums and galleries.

We have Become a contributor and expand our knowledge on Ranjani Shettar today. Ranjani Shettar. Ranjani Shettar Ranjani Shettar is an acclaimed Indian contemporary sculptor known for her innovative and intricate installations that explore the relationship between nature, culture, and materiality. Indian contemporary sculptor, installations, nature, culture, materiality, traditional craftsmanship, organic materials, ethereal forms, transformation, impermanence — Helen James.

Ranjani Shettar Ranjani Shettar is a highly regarded Indian artist, known for her ability to merge traditional materials with modern media in her large-scale installations and sculptures. Ranjani Shettar, Indian artist, installations, sculptures, traditional materials, modern media, time, memory, identity, natural materials, immersive environments, nature, delicate forms, solid sculptures, floating landscape, suspended sculptures, swirling — Nicholas Gray.

Barbican Centre. The MET. Art Asia Pacific. Kiran Nadar Museum of Art. Retrieved 22 October The Barbican. Bhau Daji Lad Museum". Bhau Daji Lad Museum. Museum of Modern Art. San Francisco Museum of Modern Art. Columbus Museum. Henry Art Gallery. Museum of Contemporary Art Detroit. Art Tower Mito. Liverpool Biennial. Carnegie Museum of Art.

Museum of Contemporary Art Australia. Marian Goodman Gallery. Fondation Cartier. Wexner Center for the Arts. Walker Art Center. External links [ edit ].

Ranjani shettar biography

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