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Wali Hawes 1952 - 2014 |
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Wali Hawes Potter's Diary |
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PanaliappanPanaliappan started potting when he was four years old. However, looking at the way he creates his majestic pieces one feels as if he had started even before he was born. And to some extent, this is true. It is unknown when there wasn`t a potter in the family or when the family wasn`t connected to pottery. Apart from the close relation to pottery Panaliappan is also a priest and so is very intimately related to the work regarding the making of The Aiyanar Horse. Contemplating his work one could easily define it as pure ceramic sculpture, albeit in a particular formalist/realist style that can be defined as Cauvery, but that would be a major error as it belongs to Pure Religious Art. Adopting a Paradigm Shift in the way we perceive his work will put Ceramic Art Practice in a new light and this is the essence of his work. It is an area that has been largely ignored and neglected due to a materialist approach not only in theory but also in practice. Aiyanar is a minor figure in the vast pantheon of Hindu Iconography. He is quite human-only having two arms. Though watching Panaliappan at work one wonders if it is he who has made off with all those arms one normally associates with Hindu Dieties. The power that Panaliappan transmits through his work can lead to a local Municipal Corporation sending a member of staff with accompanying Constabulary to put the piece in Police Protection. We had to point out that it was still unfired and as such still fragile. They also didn`t have the necessary papers. Contemplating his work, the bulging eyes and disarming smile of Aiyanar under his bushy moustache, the horse with ears as attentive as any radar if not more so, ready to put to flight any demon that might dare to show his face allows us, in the realm of the work of Panaliappan and what he transmit from his world, to sleep and dream peacefully. And we enter into a world of Multiple Realities so particular to what life and ceramics is, in 11/06/2008
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