E n a b l i n g A r t i s a n s

Terracotta design workshop

Shikha, NID Pg Diploma Final year

A 20 day workshop in terracotta was conducted jointly by Kerala State Institute of Design, Kollam Integrated Rural Technology Centre, Palakkad. The workshop was headed by Mr.Jinan, twenty five porters from different parts of Kerala participated in the workshop. The workshop was more of process oriented rather than product oriented. The porters as well we underwent a process of self learning where there was no method no terminologies of design to confuse. But just a simple approach that is to inculcate the habit of seeing things around oneself. And be present in our presence, this being the main crux of the workshop.

The process began with observing and collecting objects from nature and then drawing, the intention was to make them observant of the forms in nature as it being the only source book in which creativity resides.

Not being habituated of drawing still to my surprise they were able to extract the essence of the form beautifully. After the first warm-up the second phase was texture exploration were the porters were asked to get the textures in nature on clay slab. The exercise paves the way for deriving various kinds of surfaces while dealing with the forms ahead.

Having undergone the initial stage of process they were slowly led into the next phase which is product development. On the first day with clay they were set free to make whatever they desire on a condition that it should be a repetition of their past work. The products spelled out, were quite similar to their set thinking. Here nature becomes the biggest source for inspiration and has opened countless possibilities of deriving products by merely observing things around. A leaf has turned into a lampshade, seed into a card holder or a pen-stand. A fruit into a pickle jar etc. The whole vocabulary of forms started generating in the process and how by a single element innumerable products can evolve. The seed of the relation between the form and function started growing in the minds of the porters. By trial and error and regular feedback from us they were able to take directions for further work.

Here the role of the designer was to drive them ahead in whatever directions they were taking . We were creating situations for them rather than spoon feeding with our designs. As the aim was to make them realize that they are self sufficient in creating beautiful products and should not be dependent on a designer for a design. Its just that one needs to be attentive to whatever situation he\she is in.

In the process we had to discuss on the possibilities of design as they do not understand the high end user taste and preferences as we do. But this should not take the ownership of design from them. If that happens then again they will become mere puppets.
While undergoing the process right from the word go it was very difficult to let things happen on their own . I was more concerned with the finishing , form etc. petty issues and was unable to connect with their sensibilities and understanding rather imposing my understanding on them. But with the course of time I realized process is prior to the product or rather understanding artisan is prior to the design. One has to be extremely patient and sensitive to the artisans and should motivate them instead of cribbing. I was overwhelmed by their level of dedication and involvement with the work that has really made me think the innumerable possibilities in clay. It is from these artisans I have learned true commitment and humility in work.

The process have several times made me introspect myself
When to seep in and when to draw out?
I realized the intervention depends on which stage of learning artisan is. In the beginning asthey were unaware of the process frequent discussions on form and function was needed and how one can extract from nature. Once they start deriving on their own the designer should draw out accordingly. The designer has to be extremely conscious of the artisans work , their strengths and weaknesses and accordingly deal with the individuals.

How they can grasp the language of design so soon without any formal education?
The answer has come only when I am writing the paper they have something which we do not have i.e. humility and innocence.
We are so engrossed in terminologies like technology, complexity and technicalities of design that in the process the most fundamental aspect is unseen that is simplicity.
An artisan is always rooted to his surroundings and senses are awakened. There intimate relation with the nature is the only reason of generation of beautiful motifs and designs which speaks highly of their culture and lifestyle unlike our work
Mr. Jinan has been able to unravel this essential aspect of craft and is trying to create situations where the artisans can sow their observation in design.

Apart from letting things go on their command still there was dependency as they lack the confidence of what they should make which will sell. They know there is a market but it is something which they don’t understand. It is because of this reason that they are depending on designers for design. If efforts are put in to expose the artisans to the market know how and user taste that will help them to come out of their cocoon and make a sustainable hold in the market.

The workshop has ensured a very healthy collaborative learning between us and artisans where we mutually have benefited . Here there was no hierarchy but we all shared the same platform as ‘learners’.