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The vessels

Major series- (1987-2011)

OPEN FORMS AND VASES – 2003

PAGODA SERIES –VASES AND PLATTERS

SYMBIOSIS SERIES-1989-90

FLYING SAUCERS 1983-84

Published Text by Kristine Michael  ‘I am clay'-Contemporary Ceramic Art of P.R.Daroz-2010

Daroz's vessel forms is known for its definitive shape and form. Angles and curves have no hesitancy- proportions are pleasing to the eye as it travels a varied contour, sometimes pausing at breaks in joints where the neck joins the flaring body, or where the foot rim boldly rises as a tall pedestal. As he became more familiar with wood-firing and the richness of an unglazed surface, he used less of glaze as a “clothing for the shape” and used the line of glaze as an accent for the form.  As he explains, “The proportions are an inborn thing, very individual just like the sense of smell.” 

Daroz was a staunch supporter of the vessel tradition in ceramics as being an art form. As he relates, “ It was always considered that I was making second class things.  Really, I used to have arguments with J. Swaminathan, when he said `why are you making cups and saucers and not new creative things?' So I said,` We are reaching people closely in a very basic way which you can't. You think that looking at twenty cups, they are the same, but they are not the same. There are subtle differences in the firing that you have to have experience with your eyes.  The same is true when musicians play. Why is Ravi Shankar important as a sitarist or someone else as a vocalist?  Because there are certain stops and certain starts, which makes it much more interesting. The same thing with the clay. When you are working with the form, you stop a little, start a little, the differences are there. To understand pottery and to understand the elements, you need to know that the subtle differences make a lot of difference. To understand subtlety takes a lot of experience- to even see it, takes time.

Pottery is a classical form of art,where all the fingers are involved to create a form in the same rhythmic manner as the classical musical instrument players, Pottery is not an ego building art- instead it breaks the ego. You are making and breaking all the time. In the firing, you can't fool around, you can't neglect one thing. In painting you can always change the colours but here it's not possible.” 

In the Fine Arts Faculty Library in 1970s, Daroz was introduced to the works of Hans Coper, who was a revolutionary in his time in the pottery world in the UK. It was Coper's modernist aesthetics more than Bernard Leach's romantic Oriental pottery, that electrified Daroz's vision as he saw what the possibilities are when a form gets turned upside down and joined to another thrown form to create an abstract modernist iconic image. Coper's ‘Thistle Form' a large composite bottle shape had special sculptural appeal to Daroz. He started seeing the same abstract shapes in the village pottery and in everyday metal vessels in India. This was a turning point for Daroz's work- he began to really perceive his surroundings in India as inspirations for his forms- stacked structures like architectural elements, balancing pedestals, the precision of a contoured profile and perfect silhouette. “Suddenly I realized now I know pottery. It's next to you, you don't have to go looking at everything else in the world.”ai

 

and Art AliGallery, New Delhi

 

 

P R Daroz . All rights reserved.