Homage to leisure: G. Reghu’s sculptures on show at Seagull

The sculptor’s work, currently on display at Kolkata‘s Seagull Bookstore, speaks of a quieter, simpler way of life, away from urban hustle.

Ceramic stoneware figures by G. Reghu at Seagull Bookstore, Kolkata.  | Photo Credit: Naveen Kishore

Kerala-born sculptor G. Reghu’s work is instantly recognisable. His sculptures in ceramic stoneware tell the story of a tranquil way of life far removed from urban chaos. Their eloquent simplicity marks them out. Some of them can be seen (November 18-December 29) at Kolkata’s Seagull Bookstore, which is itself a pool of calmness amidst the bustle of the city.

Here, all the sculptures—108 of them—are placed on the floor, making it look as if they have sprung from the earth. Female stoneware figures stand contemplatively: look closely and their facial expression turns ominous. There are resting men, some with arms raised above their heads—are they expressing outrage? Then there are sculptures of placid cows. The larger sculptures of women and animals have been placed in the open courtyard adjoining the bookstore.

G. Reghu. | Photo Credit: Naveen Kishore

The languor characterising Reghu’s work is accentuated by its primordial aesthetic—the faces of his human figures blend Dravidian and African features. They all have thick lips, protruding eyes, and well-shaped ears. Reghu acknowledged this trait but insisted it was not deliberate. “I work with rural people, especially from the tribes. This shows in my sculptures,” he said.

Gandhian ideals

The artist started working with ceramics in 1987. His initial training in the College of Fine Arts in Kerala’s Thiruvananthapuram, however, was in stone sculpting. The change in style was a culmination of the many connections he made throughout his career, the most significant among them being those with master architect Laurie Baker and his wife, Elizabeth Baker, with whom Reghu spent his childhood. “They were like my guardians,” he said.

The larger sculptures of women and animals have been placed in the open courtyard adjoining the bookstore. | Photo Credit: Ishita Sengupta

The couple had designed their low-cost home in the suburbs of Thiruvananthapuram on Gandhian principles, which also moulded Reghu’s style. He did away with expensive materials and started working with terracotta and stoneware. Later, while studying in Bharat Bhawan, the multi-art centre in Bhopal, where he stayed all through the 1990s,he was deeply influenced by the philosophy of its then director, painter Jagdish Swaminathan, who championed tribal, especially Gond and Bhil, art.

Reghu likes working with ceramics. “The medium is such that every experiment results in something different,” he said, adding that he uses wood kilns and does not glaze. His creations, with their earthen, muted colours, look disconcertingly alive. His themes have changed at different stages of his life. The current display, with sculptures of walking men, village women, and some new pieces, marks a confluence of his previous works.

The space of the bookstore, which is distinctly different from a conventional gallery, lends a quiet intimacy to the exhibition. | Photo Credit: Ishita Sengupta

In sync

The sculptures are in perfect sync with the exhibition space, which has been thoughtfully designed by Naveen Kishore, founder of Seagull Books, and his team. Established in the 1980s, Seagull is one of the foremost independent publishing houses in India today. Kishore has been promoting artists for decades, adopting ingenious ways to display their works. Kishore admitted that he has always leaned towards artists who are not commercially visible. So, Reghu was a natural choice.

This, however, is not the first time Seagull has made space for the Kerala-based artist: his works had been on display twice before. “We are not very possessive about the people we show. It is a relationship, not a contractual thing,” Kishore said. This approach of prioritising art over commerce was also what drew Reghu in. “Naveen Kishore is an artist himself and his creative thinking aligns with my thought process. Seagull is not a commercial gallery. I feel good to be associated with it,” Reghu said.

The sculptures look disconcertingly alive with the dramatic lighting. | Photo Credit: Ishita Sengupta

The space of the bookstore, which is distinctly different from a conventional gallery, lends a quiet intimacy to the exhibition. There is a playfulness at work there, evident in details like the lighting. Kishore did not use the expensive lights used by galleries, opting instead for usual lights and heightening the drama by wrapping black chart paper around them. Kishore attributed this sensibility to his training in theatre. The change in physical space also affected the pricing. “Works here are available for as low as Rs.10,000-20,000. Nowhere else will you get anything in this range,” he said.

For Kishore, featuring Reghu at this time of the year was a deliberate decision. Next year marks the 100th birth anniversary of artist K.G. Subramanyan, incidentally also from Kerala, whose works in clay and ceramics are iconic. Seagull is preparing for a major exhibition on Subramanyan in 2024: the bookstore’s second-floor walls are already bedecked with his creations. “Subramanyan was very prolific. He would do ceramics and wooden toys. So, this is a quiet homage,” Kishore said. 

Ishita Sengupta is an independent film critic and culture writer. Her work is situated at the juncture of gender and pop culture.