“Where the material ends, art begins.”-Etienne Hajdu
The Museum of Art & Photography (MAP), Bengaluru, has a spectacular show- ‘We don’t end at our edges’ by artist Ravikumar Kashi from March 8th – June 15th, 2025.
Ravikumar Kashi is an artist, writer and educator; a recipient of the Charles Wallace India Trust Grant, and Hanji papermaking residency in Jang Ji Bang, South Korea, supported by the InKo Centre, Chennai; whose implementation circles around reconnoitring the practice of ‘meaning-making’. The way his sculptures and installations interact with light is incredible, adding an extra layer of gravity to the piece. The convoluted minutiae in his paper sculptures are exquisite; reflecting the time and effort went into crafting it. Techniques embrace writing, folding, sewing, hanging, and fastening to achieve intricate displays, from unassuming geometric shapes to multifaceted forms, creating truly mesmerizing art pieces.
Paper sculptures embody the transient nature of art, as their delicate medium is inherently impermanent and subject to decay. Unlike traditional sculptures made from marble or bronze, paper sculptures embrace fragility, often echoing the fleeting beauty of life itself. The process of creating and the ephemeral existence of these works accentuate the significance of the moment, resonating with audiences who appreciate their evanescence. This transience mirrors broader themes in contemporary art, where impermanence is celebrated rather than resisted, that are intentionally and experimentally cherished after completion.
“I work with paper, not on paper”, says Kashi. These sculptures not only are visually alluring but also highlight the changeability and resourcefulness of paper as a medium in art. Alphabetical paper sculptures are intricate artistic creations where letters or words are crafted into three-dimensional paper structures. These engrossments with the Kannada script are not just a medium of communiqué for Ravikumar Kashi but are a ‘living, breathing entity’ and allegories that echo the depth of human relationships. When one sees him ‘drawing’ the alphabet with a cone, one can perceive them through assortments ranging from simple patterns to ornate, colourful encrusted compositions. It’s like dangling typography art, amalgamating language with visual artistry. Incorporating handwritten poetry with paper pulp is like blending the boundaries between art and literature, words embedded within the artwork, creating a multisensory experience that explores the intersection of poetry and paper art. They are like verses that breathe- the fluidity of meaning and matter.
Joint asymmetric alphabets in paper assemblies embroiled letters that are artistically attached in a deranged yet visually harmonious way. The designs often perform with irregular spacing, fluctuating sizes, and unconventional alignments to construct dynamic, eye-catching opuses. By assimilating asymmetry, Ravi has evoked movement, profundity, and exceptional structural forms, making the lettering more dramatic and sculptural. Unconventional displays of paper sculptures challenge traditional presentation methods by integrating them into unpredicted milieus. One understands them suspended mid-air, illumined with subdued lighting, or installed within interactive spaces. These innovative spectacles transform paper art into an immersive, thought-provoking display.
As light filters through woven letters, intricate cuts and perforations, it casts dynamic patterns onto surrounding surfaces, creating an ever-changing visual involvement. Shadows enhance the sculpture’s form, adding a sense of mystery and dimension. This interaction between light and paper transforms a static piece into a living, immersive display that evolves with the shifting curves and silhouettes. Ravi “challenges the notion of fixed borders, whether in language, culture, or human connection.“ Holding onto the concepts of ‘materiality, permeability, and language’, he walks where lines are drawn, only to erase them; where words tumble beyond language through the fading lines, untamed, uncultivated and free; with precincts obscuring in the affability of collective stories, until all that remains is connection.
“This evocative showcase reimagines paper beyond its conventional purpose, embracing it as a language in itself—one that embodies permeability, memory, and connection. Through intricate sculptural forms and delicate textural compositions, Kashi blurs the line between material and meaning, exploring how language weaves through our individual and collective identities”, says MAP.
Courtesy of Dr Alka Chadha Harpalani
Alka is an artist and art writer with a diverse career spanning teaching, e-learning projects with the Ministry of Human Resource Development (MHRD), and editorial work. An alum of the Government College of Art, Chandigarh (BFA) and Banaras Hindu University, Varanasi (MFA, PhD), she has been recognised with numerous prestigious awards and honours.
