Since the series of lockdowns stopped every activity, the university and studio, I had no option left than to return home with no resources but with a determination to start again. Due to the crisis, I tried to explore ceramics as a primary medium. I started the experimentation with soft mud clay and recreated the concept of ancient Japanese mud ball, known as ' Dorodango’. Firing was a big obstacle due to lack of space and arrangement. So, I took help of a traditional oven on ground commonly known as ‘unun’ in Bengali. An old mud hut provided me the idea to establish a make-shift studio. I used sand and brick dust in order to observe the heating treatment as firing them without a crack was an immense challenge. I applied a bit of texture by scribbling, carving and attaching clay dust. It is a delicate process done with finger tips like pinching and hand building with the larger amount of work. I developed a primitive klint out of the bricks and clay to put additional texture, colour and glaze. I also applied the ‘pit fire’ process which provided a dark colour and texture by carbon entrapping. I am also trying to bring back the reminiscence of classic pottery for different purposes, such as water pots, tubs, utensils and clay instruments. I used the process of throwing, pinching and hand-built slabs to provide my designs an aesthetic with a minimalistic approach. New challenges provided me new possibilities and I am learning as the process continues through this amazing journey. I hope that I can establish this vision and perspective through my artwork which will provide a better experience.
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What are you going to take forward from this make-shift studio practice experience?
"The idea of coming back to the basic manual-driven techniques when it comes to ceramics is something I intend to research further as it is a challenging process."