Terracotta art and architecture reached unprecedented heights in 16th century Bengal. The devotional movement then sweeping over the region, opened floodgates of creativity. Sacred and civilian buildings, made of baked clay bricks and decorated with extravagant motifs, were set up to showcase the resurgent innovative spirits of the artists and craftsmen. Monumental structures were designed by the architects using innovative techniques that managed to defy the fragility of terracotta structures. Even five hundred years on, the remains of these historical edifices overwhelm us with their beauty and intricacy. What was the essence of terracotta art? And, how did the artists manage to create such timeless pieces of work?
Ben Hammond’s work is not only an elaboration of human forms through sculpture but rather a vessel for storing and expressing the deepest thoughts that lurk within. The bronze models seem to expose their throbbing crimson heart to the audience to behold; they even grant a share of emotions to the audience for their beauty is forever imprinted in the mind’s eye of the viewers.
Eva Antonini was born in Rapperswil, Switzerland and spent much of her formative years there before moving to Geneva in 1981. Her artistic soul tried finding many outlets, through music and dance and even through her studies in linguistics. She traversed many a path, in England, United States, Italy, Middle and Far East. The gems of experience gathered from all these journeys and cultural interactions were collected with care and were tucked away into her heart that later on permeated into the moulds of clay or alabaster that Eva lovingly caressed and cajoled into various forms with her hands. Eva honed her skills under the watchful eyes of the masters in the studios of Oreste and Antonio Quattrini, Giorgio Eros Morandini, Giovanni Cimatti and Ettore Greco. She received honours during International Biennial of Contemporary Art in Florence in 2005. And it was only the beginning. The former student of linguistics has learnt to speak in a language that is all pervading in its sublimity.
Born in 1964 it is not until she turned 40 that Fenella Elms’s actively started modelling dreams on potter’s wheel. She was working as an Occupational Therapist for National Health Services then and found it befitting to create structures and patterns using ceramics as a medium. A recipient of Ceramic Review Award for Exceptional, Innovative and Challenging work at Ceramic Art London, Royal College of Art in 2011 Fenella’s work is a narration in ‘fragile permanence’.