Material Instinct

Sebastian (Import…) is driven by ‘‘functional re-evaluation (of objects), cultural reference, humour and a close contact with the material’’. But Chowdhary—who visited India after her post-graduation in ceramics at the Royal College of Art, London—says, ‘‘I was stimulated by both Western and Asian culture. This gave me the confidence to go my own way.’’ Her tiles and ‘sculptures’ for Import… have subtly melded Asian pottery designs with international standards of urban utility. Like her minimal pen stand with a bright Indian palette.

Delhi-based potter Manisha Bhattacharya (Contemporary Ceramics) says: ‘‘Although India is rich in traditional ceramics, the medium as an art form is still young.’’ At the Design School in Cardiff, Wales, she learnt techniques under Deve Roberts, an expert in the Japanese firing technique called Raku. Ironically, though, ‘‘this ancient method was brought into the mainstream by Briton Bernard Leech. He made it accessible to other Asians,’’ she says.

El Ultimo Grito (Import…) also embraces international urban needs, with its designer dirty clothes basket. Fitted with a spring, it gives the user a clue when its load has approached five kilos, the typical weight a domestic washing machine can take. ‘‘We didn’t want to design look-at-me objects. Our aim is to reduce design to a minimum,’’ says Feo. Designer Manish Arora (Globo…) could fit the other end of that spectrum, with his objects screaming for attention. While Arora’s creations are 100 per cent India—bright colours, kitschy motifs—25 per cent of his clientele isn’t. Just goes to show design recognises no boundaries.

Georgina L Maddox

(Import Export and Globo Local, NGMA, Mumbai, until September 28. Globo Local moves to National Institute of Design Gallery, Ahmedabad,on October 4. Contemporary Ceramics, British Council, Mumbai, till September 27; moves to Bilmart Zeramics, Mumbai, till October 30)