Brick Temple at ART ICHOL

Homage to Brick Makers

Brick Temple at

Artist: Jacques Kaufmann 10th December 2017

An

Project

Concept and Theme: Jacques Kaufmann Supported and sponsored by Ambica Beri Technical assistance: Ashok Prakash, Krithika Sriram, Ramesh Chandra and Art Ichol contractors team Book Design, composition and captions: Tanya Dutt Cover Image courtesy Art Ichol, 2016.

Back cover image by Jacques Kaufmann, 2016.

Art Ichol would like to thank Tan Hongyu ‘Ayu’ for her images, complete video and photographic documentation of the making of the brick temple and process.

Images courtesy: Carl Michael Atiyeh, for Cover page, 90 and 93 Krithika Sriram, for page 72 (clockwise images 1 & 2), pages 81-83, pages 86 & 87 (clockwise images 4, 5 and 6) and pages 88 & 89.

Jacques Kaufmann, for page 44, page 86 (clockwise image 1).

Ajay Soni, for pages 74, 91-92 and Sanjay Insan for page 45.

Printed and published by: Ambica Beri for Art Ichol, Village Ichol (Khajuraho-Bandhavgarh Highway), Maihar - 485771, Madhya Pradesh. web: www.artichol.in email: info@artichol.in +91 7389238352, +91 9831009278 An initiative of Gallery Sankriti, Kolkata web: www.gallerysanskriti.com email: info@gallerysanskriti.com +91 9831009278 Printed at Pixcel India, Kolkata +91 98303 86747 ART ICHOL 2017

C n Cont Contents

Foreword ...by Ambica Beri

5

Homage to the brick maker ...by Jacques Kaufmann

6

Rwanda ...the beginning, 1984

10

Inspiration ...around Art Ichol

22

Creation ...in time lapse

40

Tree, or Bamboo? ...by Tanya Dutt

46

Process ...and detailing

56

Minutiae ...and technicalities

68

Portraits ...people and bricks

75

Lighting ...rays and beams

82

Foreword

Dear Friends, The area around Art Ichol is dotted with brick making sites and kilns, a common feature of the landscape.

Art Ichol itself has interesting elements such as the reuse of ancient bricks, like the Wall made of bricks IURP %DED $OODXGGLQ .KDQȇV PXVLF VFKRRO ZLWK LWV GHHS KLVWRULFDO VLJQLȴFDQFH Ζ VXSSRVH WKDW VWRULHV LQ bricks have always fascinated me and I enjoy bringing those secrets to the surface.

Then during his frequent visits to the kiln sites, Jacques would take such keen interest in the brick making DQG ȴULQJ SURFHVV WKDW LWV PDNLQJ EHJDQ WR LQWULJXH PH IXUWKHU 7KLV ZDV WKH EHJLQQLQJ RI WKH VWRU\ RI WKLV project. After its inception, Jacques and I worked on the idea of the brick temple for months, sending drawings back and forth long distance. Jacques’ understanding and experience of brick making and architectural form shone through; and his ideas complement mine quite well.

0HDQZKLOH .ULWKLND ZKR KDG FRPH WR GR KHU WKHVLV RQ $UW ΖFKRO ZDV URSHG LQ WKLV EHFRPLQJ KHU Č´UVW assignment as a young architect. Ashok, a very talented mason and expert in the art of making domes EHFDPH DQ LPSRUWDQW SDUW RI WKH WHDP $\X ČľHZ DOO WKH ZD\ IURP &KLQD WR GRFXPHQW WKH FUHDWLRQ RI WKH temple. Besides the team of workers and masons who put in their heart and soul, I would like to acknowledge WKH HÎ?RUWV RI 5DPHVK ZKR ZDV D YLWDO OLQN EHWZHHQ WKH PHPEHUV RI WKH FRUH WHDP *DXWDP 6DODPDW 6HKHU and Tanya, all had a part to play in making the Brick Temple a success. &KRRVLQJ WKH VLWH RI WKH WHPSOH ZDV OHIW WR PH Ζ IHHO JRRG WKDW LW LV SRVLWLRQHG LQ D ZD\ WKDW RQH JHWV D YLHZ of the iconic Chhattri from within the entrance of the temple. The space is earthy, meditative and its DFRXVWLFV RI OLJKW DQG VRXQG VSHDN WR WKH PLQGȇV LQQHU H\H PDNLQJ XV UHČľHFW RQ WKH PDNHUV RI EULFNV DQG the process of brick making itself.

Ambica Beri December, 2017.

5

Brick Temple at Art Ichol, ‘Homage to the brick maker’

Ζ EHJDQ PDNLQJ ODUJH VFDOH FHUDPLF ZRUNV LQ 6LQFH WKHQ PRVW RI WKH LQVWDOODWLRQV Ζ FUHDWHG LQ various places of the world are in relation with the possibilities of the site, of the country. By possibilities, I mean not only the available materials, skills, and processes to realize work, but also the qualities of the space, and of course, something that I can connect from my own feelings to the local culture in all its levels.

My work at Art Ichol is a temple, a temple of bricks to honor the brick, homage to the brick makers.

It required a large quantity of bricks to build the space, and there is one brick inside, that is in levitation.

6LQFH WKH WLPH Ζ VWD\HG LQ $IULFD IRU WZR DQG D KDOI \HDUV EHWZHHQ DQG XQWLO QRZ WKH process of brick-making has moved me and inspired my work. Brick making processes reveal something from the subterranean that will come into the open space, and take on a new dimension, like architecture for example. To compare this traditional activity, it is about the transformation, IURP WKH VXEFRQVFLRXV EHLQJ EURXJKW LQWR WKH FRQVFLRXV (DFK EULFN KDV D GLÎ?HUHQW FRORU GLÎ?HUHQW quality, belonging to the ground, to the country. It is a small piece of nature becoming culture, and IURP WKH VLPSOHVW OHYHO OHDGLQJ SRWHQWLDOO\ WR WKH ODQGVFDSH VFDOH *URZLQJ IURP XQGHU WKH JURXQG and heading to the sky, it reveals paths, through its materiality. These paths can be conceptual or spiritual, something that I can better express through the titles of some of my previous works: “With one brick, to rebuild the worldâ€?, or “To build his world, humans need myths and bricksâ€?.

7

7KH ȴUVW WLPH Ζ YLVLWHG ΖQGLD LQ RQ P\ ZD\ IURP $UW ΖFKRO WR the Khajuraho temples, as soon as I saw the brick-makers, I was taken back to my days in Africa. I requested the driver to stop the car, and when I left the group of brick makers behind, I thought to myself: I will pay homage this time. This time, I will give tribute to them. I have to.

Thanks to the Director and maker of Art Ichol, Ambica Beri, my proposal was accepted and it became a reality.

It seems that this kind of brick making system might disappear.

This work is homage to Africa, India, and to all the workers making this humble material, needed by human beings to protect their life from the outside world.

Jacques Kaufmann

9

RWAND

DA

7KH %HJLQQLQJ (Images from Jacques’ archives)

11

Fortress of fired bricks, 50’ x 30’, 1985.

13

Constructs of clay

15

Colours of Earth

17

Man, food, shelter

19

Firing, Process

21

INSPIR

ATION Around Art Ichol

23

EARTH, FIRE, WATER, AIR & SPACE

25

Clay, Wood, Cowdung, Husk & Coal 27

Ripples in Brick I

Ripples in Brick II

33

A Feminist’s World, the real homemakers 35

Unfinished or finished, nobody lives here anymore 37

brick in organic form

BIRTHING EARTH

brick as tectonic movement

39

CREAT

TION

in time lapse

41

43

Functionality to form

45

-DFTXHV .DXIPDQQ FHUDPLVW IURP )UDQFH 6ZLW]HUODQG and President of IAC (International Academy of Ceramics), in conversation with Tanya Dutt about the clay culture of his world.

Tree, or Bamboo?

Born in Casablanca, Morocco, Jacques began working

a unique insight into artists’ lives. It is much like taking

with clay at the age of 18 as a hobby, when he had little

a stroll with the artist and watching their mind and

idea of how ceramics would eventually open the world

thought process. But what really comes out from these

to him and open him up to the world.

talks is the heart of the artist. Jacques’ work, jumps out of the screen and takes you by surprise, revealing how

He has had numerous solo shows since 1978. His

his mind is crafted by the limitless possibilities an artist

surreal and gigantic installations swirl around the

can explore. To an observer, the ability to dream with

mind’s eye, creating awe and wonder in the realms of

one’s hands must be an artist’s greatest gift.

form, space and dimension. He has enabled the viewer WR VHH FHUDPLFV DV D ČľXLG DQG OXFLG FRPSRQHQW RI DUW

+DYLQJ Č´UVW KDQG REVHUYHG KLP WRZHU DQG WRLO RYHU KLV

that reaches beyond a pedestal and is no longer

work, conversation with Jacques on the open green

FRQČ´QHG WR IXQFWLRQ RU VL]H

grass of Ichol feels easy, as it unfolds the artist’s

The evening presentation hour at Art Ichol, enables

understanding and ideography of ceramic art.

Tanya Dutt: I’ve seen so much of your residency

My studio is one of the places to experiment within

work and your installations, which make me wonder

this triangle. Material means the material itself,

what your studio practice is like? Your gigantic

and also could be the tools I work with or the

creations mystify me and make it almost hard to

processes I employ. As spaces could be either

imagine what smaller pieces might be like.

public, they have numerous connotations whether

Jacques Kaufmann: Work in my studio is based on

historical,

an intimate relationship with materials, tools and

spaces could be intimate, such as the studio space

spaces. I am working in three domains mainly,

itself. Energy is such a crucial aspect of this triangle,

which are material, space and energy. They

as it connects the other two points. My studio

represent a triangle that I question systematically.

UHȵHFWV DQG ȵRZV ZLWK P\ HQHUJ\ ΖI Ζ DP FOHDU RI

political,

economic,

sociological;

or

my own energy, I can translate it into my art, which

make my own discoveries. Finally, I discovered that

in turn can be transferred into the viewer. Thus by

through my work with clay, space and energy is my

being concerned with my own energy, the material,

way to contact a memory, which is at the root of my

and having the comfort of known factors, I can

approach in art.

Above: Shiver Wall (Mur Frisson), Gimhae Clayarch Museum, Korea, bricks & wood, 12 x 3 x 2.5m, 2015

47

Tanya Dutt: Hmm… Perhaps all is only energy. It is

like the single unit in your work is not as crucial as

interesting that you enable the transfer of art from

WKH HQWLUH DQG ȴQDO IRUP :K\ VR"

body to body, from maker to viewer, from unit to

Jacques Kaufmann:

whole, and from abstract to manifest. Thus it feels

object oriented. And that’s alright of course. I am

Very often ceramists are

Looking for Light, GAFA City Museum of Art, Guangzhou, China, brick & bamboo, 35 x 3 x 8m, 2014

more interested in how I can put energy into my

smaller constraints, not as a goal. For me it is a

work, rather than the end result. I consider the

limitation that a ceramist is only an object maker.

result as a logical consequence of overcoming

:K\ FDQȇW WKH REMHFW WUDQVFHQG WKH FRQȴQHV RI

VSDFH" :K\ FDQȇW HQHUJ\ ȵRZ LQWR ODUJHU IRUPV" :RUNV FDQ be made from material that may be considered ‘high’ grade or ‘low’… even in waste there is energy, even waste still has potential! But what is important is that I show what I feel even with basic or unconsidered material.

Tanya: 6SDFH LV one

of

the

mainstays of your SURFHVV <RX ȴUVW perceive

your

space and then proceed to occupy it

with

your

energy-form. How does space speak to you? Also, how did the space of Art Ichol interact with your work?

Jacques:

I

answer

with

will a

small story. I was invited to Japan once, and on the train from Osaka to Kyoto, I was in a completely empty compartment. As I sat in my seat, the ticket collector entered the empty compartment.

At the door he stood for a while, and bowed - to the empty space. At the other end, before leaving the compartment, 49

KH WXUQHG DURXQG DQG ERZHG WR LW DJDLQ $W Č´UVW Î&#x2013; WKRXJKW WKLV PDQ PXVW EH FUD]\ %XW in retrospect, I realized that like my martial art practice of Aikido, â&#x20AC;&#x2DC;the way of the energyâ&#x20AC;&#x2122;, I too must bow to the Dojo RU VSDFH EHIRUH DQG DIWHU SUDFWLFH 6RČ? VSDFH LV QRW HPSW\ Now, whenever I enter a space, I naturally feel and analyze the space. The space itself asks for consideration, and makes me feel itâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;spiritâ&#x20AC;&#x2122;. How did the space here at Art Ichol

interact with my work? It connected me to a former lifeâ&#x20AC;&#x2122;s experience in Africa, where I discovered outdoor brick activities, brick makers working at landscapeâ&#x20AC;&#x2122;s scale. When Iâ&#x20AC;&#x2122;m at Art Ichol, I feel Iâ&#x20AC;&#x2122;m in a kind of a memorial. A memorial to artists and legends, a memorial for Ambica, also dedicated to her father. Therefore my project here is a memorial to the brick makers.

Tanya: <RXU ZRUN VHHPV WR EH VXUUHDO \HW YHU\ PRWLYDWHG E\ KXPDQ FRQGLWLRQ &DQ \RX VKDUH \RXU insights?

Jacques: Î&#x2013; GRQČ&#x2021;W OLNH VR PXFK WKH LGHD RI LGHDV Î&#x2013;GHDV DUH OLNH EXEEOHV LQ D &ROD ERWWOH 7KHUH DUH PLOOLRQV DQG LW LV YHU\ GLÉ?FXOW WR DYRLG WKHP :KDW LV UHOHYDQW DQG QHFHVVDU\ LV KRZ WR FKRRVH DQG WUDQVIRUP them into the thinking process. In the daily activity of the studio, or in a project, the thinking process

Clockwise from top: Fireworks Box, 5 x 6 x 5â&#x20AC;?, 2013, Shiver Wall (Mur Frisson), Jacques Kaufmann at Art Ichol, Impressions of Buddha Faces on Ceramic sculpture

and making process should not be separated. The relationship between man (thinking and making) DQG PDWHULDO LV LPSRUWDQW WR PH HVSHFLDOO\ ZKHQ LQ FRQWDFW ZLWK HOHPHQWV OLNH FOD\ Č´UH ZDWHU DLU DQG wood.

Tanya: 6R PXFK LV JRYHUQHG E\ WKH Č´YH HOHPHQWV HYHQ WKRXJK ZH PD\ QRW EH DEOH WR VHH ZKDW LV acting with or against us. For instance, I remember you mentioned metaphorically that you had not 51

been working with the wind, but against it. In another instance you brought up the same metaphor by sharing that your parents were against you taking up ceramics. And you said, Č&#x160;6RPHWLPHV ZKHQ WKH ZLQG LV DJDLQVW \RX LW FDQ EH D JRRG thing.â&#x20AC;? At this residency, you are so far away from your own VWXGLR LQ D QHZ FRXQWU\ \RX DUH YLVLWLQJ IRU WKH Č´UVW WLPH

Jacques Kaufmann, Fireworks Box 3, 11 x 8 x 10cm, 2013

ZLWK WKH Č&#x2020;ZLQG EORZLQJ LQ D GLÎ?HUHQW GLUHFWLRQČ&#x2021; +RZ GLG \RX PDQDJH WR Č´QG \RXU H[SUHVVLRQ" Jacques: From the practice of my martial art, I have learned that you can use your opponentâ&#x20AC;&#x2122;s energy RU VHHPLQJO\ RSSRVLQJ HQHUJ\ DQG FKDQQHO LW WR EHQHČ´W \RX Î&#x2013; XVH P\ RSSRQHQWČ&#x2021;V VWUHQJWK DV P\ IXHO as energy. In truth, by learning and understanding my opponent I can truly overcome the opposition.

Jacquesâ&#x20AC;&#x2122; excursions to traditional brick making sites in and around Maihar, studying the excavations of land, clay, the ancient techniques of brick making, its moulds and low tech kilns. Local clay quarries are found alongside the highway and can be easily accessed in this region.

By understanding the essence of the material at hand I FDQ DVN P\VHOI Č&#x160;+RZ FDQ Î&#x2013; ZRUN ZLWK WKLV PDWHULDO"Č&#x2039; 6R you see, initially the new clay was not working for me, but by understanding it, I could begin to use it and turn 53

ZKDW VHHPHG DQ REVWDFOH DW Č´UVW LQWR DQ

the Khajuraho temples, soon as I saw the brick-

advantage. The sailors do the same, they work

makers, I was taken back to my days in Africa. And

ZLWK WKH ZLQG 1LFRODV %RXYLHU D 6ZLVV ZULWHU VD\V

I thought to myself, I will pay homage this time.

â&#x20AC;&#x153;If one does not allow the journey the right to

This time, I will give tribute to them.

destroy us a little, better to stay at home.â&#x20AC;?

5HVLGHQFLHV DUH VXFK Î&#x2013;W LV WR OHDUQ WR GLVFRYHU QHZ

Tanya: Yes, you make me feel that each brick is a

territories, to propagate hybridization â&#x20AC;&#x201C; the future

VWRU\Č? 6R ZKDW ZDV \RXU VWRU\ LQ Î&#x2013;QGLD OLNH" Î&#x2013;V LW

of the world, and it is by connecting to others that

GLÎ?HUHQW IURP WKH RWKHUV"

ZH Č´QG JUHDW SRVVLELOLWLHV ZLWKLQ RXUVHOYHV DQG

Jacques: On the contraryâ&#x20AC;Ś like other places, it

within others. To me a residency is active listening

works on the same principle, but of course on a

and

bring

GLÎ?HUHQW WXQH Î&#x2013; OHDUQ Î&#x2013; FRQWDFW DQG Î&#x2013; RSHQ XS Î&#x2013; WU\

something to the table. To begin in the unknown

WR Č´QG WKH RSHQQHVV LQ RWKHU SHRSOH 7KHUH LV

and go into the unknown as well â&#x20AC;&#x201C; that is a

something I connect to with former experiences, in

residency.

Africa, the Far East, Iran, but in a special mood. Of

conversation,

where

all

parties

course, I have received a warm welcome in this Tanya Dutt: Your work at Art Ichol will be a temple

huge culture, to this strange mix and long history

to the brick-maker and a temple of brick to the

RI FLYLOL]DWLRQV 7KH PRVW GLÎ?HUHQW DVSHFW LV

brick. Why the fascination with brick-making?

probably the form and the space, and the intensity

Jacques Kaufmann: It is the process of brick-

taken by spirituality into daily life, everywhere, at a

making which intrigues me. It reveals something

level I didnâ&#x20AC;&#x2122;t imagine.

from the subterranean that will come into the open space and take on a new dimension. Is that

Tanya: What will you be taking back from this

not interesting? Almost like something taken from

experience?

the subconscious and brought to the conscious.

Jacques: Because I came empty and without any

(DFK EULFN KDV GLÎ?HUHQW FRORXU GLÎ?HUHQW TXDOLW\ Î&#x2013;W

H[SHFWDWLRQV VR GLG Î&#x2013; ČľRZ LQWR WKH HQHUJ\ RI WKLV

belongs to the ground, to the country. At the

experience. One needs a lot of time, to delve into

simplest level, it is a small piece of nature

the depths of such a rich culture, to go beyond the

becoming culture. On our way from Art Ichol to

VXSHUČ´FLDO DQG QRW MXVW EHOLHYH ZKDW \RX VHH DW Č´UVW

glance. There is always much more than what

feels, his intuition and his emotion, outsourced from

meets the eye. Once I was reading a book on

the world. And to give back something of it to others.

Amazonia and I saw a picture that showed a hunter.

He was pointing his bow and arrow to the sky but

Tanya Dutt: One last question Jacques, your

KH ZDV QRW KXQWLQJ KH ZDV Č´VKLQJ +H FRXOG QRW

presentation asks the viewer if they perceive

SRLQW WR WKH VHD DV WKH UHČľHFWLRQ RI WKH ZDWHU ZDV

themselves as Tree, or Bamboo. How about you,

hitting his eyes. My work may not be a

what do you perceive yourself as?

representation of the truth. And I welcome this, as

Jacques Kaufmann: 6PLOHV DQG ORRNV DW PH

I consider the role of the artist is to reveal what he

inquisitively) What do you think?

Jacques Kaufmann, Qi (Spirale), Gimhae Clayarch Museum, Korea, tiles & bamboo, 12 x 7 x 7m, 2015

Tanya Dutt is an Arts and Culture consultant for creative industries. Her fascination for cultural exchange, heritage and tribes drives her quest promoting creative practices in remote parts of the world. She has lived and worked in Japan, Italy, Cambodia, Australia, UK and various parts of India.

55

PROCE

ESS

and detailing

57

59

Creating the raw texture outside the entrance vault, first with the cutter and then by hand

61

63

65

67

MINU

UTIAE and technicalities

69

Grip and waterproofing plaster hidden between the inner and outer layers of the dome

Welding the entrance vault for structural framework: The entrance / exit faces the ancient Chhattri at Art Ichol, an iconic structure of the Centre that is created with ancient bricks and stone. The entrance vault is unique in design, passing over a water feature and narrowing once inside the dome, it allows only one person to enter the dome at a time. Thus drawing focus and a sense of reverence to the space within. One needs to observe bricks in order to set each footstep.

71

The Buddha Bricks: The templeâ&#x20AC;&#x2122;s outer most brick layer is stuccoed with buddha faces. The bricks are stacked vertically, as regular bricks are while firing in the traditional way. These bricks required special firing after several months of R & D. Ironically, none of the Buddha bricks were fired in the vertical position. The final outcome was like a phoenix rising from the ashes, or resurrecting Buddha after a grueling ordeal.

73

PORTRAITS thanks to...

75

Pushpendra

Kamlesh

Ramesh Tirath

Raju Ashok

Ayu Krithika

77

Umesh

Sukhendra

Raja

Prahlad

... and Jacques

79

81

LIGH

rays and beams

TING 83

Capturing the Sun 85

87

89

91

93

a creative escape

M IH R

stone metal ceramic fine art

.KDMXUDKR %DQGKDYJDUK +LJKZD\ 9LOODJH Î&#x2013;FKRO 1HDU 0DLKDU 03 Î&#x2013;QGLD ZZZ DUWLFKRO LQ LQIR#DUWLFKRO LQ _ ZZZ JDOOHU\VDQVNULWL FRP