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Salman’s unique glazing techniques and his creative passion, coupled with a strong Oriental flavor, make his work unparalleled.
Beyond The Glaze" by Aasim Akhtar
Roll a perceptive eye around the lines
of ceramist Salman Ikram’s ceramic pieces and a curious mélange of
reference points appears. The ribbed texture of sedimentary rock;
the voluptuous curves of a halved capsicum; the grid pattern of a
cast-iron road grille; the inner whorl of a sea shell.
“Like any artist, I am aware of certain influences gathered through training and experience. But I’m regularly surprised by the presence of ideas or observations from the day-to-day environment, relayed subconsciously and seemingly guiding my working process, but only identified in the finished forms when the work is complete,” he says. Playing a counterpoint to these often organic environmental undertones is Salman’s elegant clean architectural approach to form and structure.
Among the pieces on show at the Nomad Gallery in Islamabad were variations on his ‘standing form’ or, less prosaically, ‘shell vase’; vessels built on a single or multi-celled base shape, with tall, tapering forms that reminded the viewer of the internal geodesic structure of a fuselage, and which, in plan view, echo the lines of a sliced bell pepper. Organic curves and an inherently strong shape were present in another series of vessels, whose gentle recurves, perhaps recalling a hip flask, seemed comfortable nested with each other. In these pieces, Salman’s chosen earthy colours — warm grey and arsenic ochre — enhanced the geological reference suggested by the fine stratification of the glaze reminiscent of volcanic lava.
In Salman’s work irregularities of shape and
pattern are sought as part of the process of making. He seeks a
timeless beauty, inspired by a love of things as various as ‘old
objects’, flowers, architectural ruins and the flowing linear
decoration on monuments. What he seeks is a quality unrelated to
time or technology. His vessels register marks of metamorphosis as
if worked by the plasticity of an archaeological site, geological
pressures wrought over time and the forces of nature and growth.
Working in stoneware, Salman’s thrown vessel forms are sometimes
given hand-built additions which appear to transform before us as
unique botanical specimens, animated by an inherent energy. Their
green glazes and traditional reduced luster emphasize their already
anthropomorphic qualities. Other forms, simpler still, stress the
decorative possibilities of the structure.
The botanical forms seem to emerge from an
ancient object, their personal and cultural associations lost in
time. The luster surface acts as an accretion (literally and
figuratively), obscuring any fixed definition of its ‘previous use’,
marked by the processes of time. The effect is a mask distancing us
from a full apprehension of the object, leaving the maker the only
one privy to its history.
Similarly, Blue Glazed Pot, with a mouth the shape of a flying
saucer, seemed to hide layers of memory and experience, revealing
only the detritus of former associations, its beauty found in the
evidence of its ‘lost’ connections. Its decoration hinted at a lost
narrative as if we were witnessing the evidence of an unknown
history — a partial memory. Yet, at the same time, the intense
colours and luster were inviting and tactile.
Salman’s recent vessels carry a rather anthropomorphic quality.
There is fluidity between decoration and form, as if the form itself
is taking on the life of the decorative surface. The bent and
slightly bulbous forms have a quality of animus — a ‘spirit’
integrating form and decorative surface into a unified animated
whole. It is as if undefined memory and association are given life.
Some of his pots, for instance, seemed to sway in a gesture of
awakening. The trunk-like shapes of the vessels appeared like some
ancient antediluvian creatures, a quality counteracted, however, by
the sophisticated and elegant surface. Many of those vessels were
ringed with solid bases; as if he were anchoring them solidly back
into the earth. This seemed to reinforce their timeless yet archaic
quality. They appeared at once like archaeological finds, evidence
of some past material culture.
Salman describes his work with clay as a process
of exploration. While he uses the repetitive patterns of remembered
forms and botanical growth, he seeks out their imperfections,
usually interrupting the pattern, so that there is always a sense of
the incomplete, a deliberate serendipity mirroring the unexpected
results of the final luster firing in the kiln. He creates a
personal beauty, one that requires us to bring our own sense of
completion to it.
In marked contrast, Salman’s work is particular and pointed, drawing
on specific memories and experience to explore the rituals of
domestic life. Yet he too requires an effort of completion from the
viewer. There are forms, which elicit an investigation of the way
personal domestic rituals have become a replacement for broader
religious rituals. The items used in domestic ritual become
transformed into venerable objects taking their ceremonial place on
the dresser or table.
They reveal narratives of tradition and family life and become the receptacles of social values and inheritance. I call them ‘domestic altars’ and indeed they ritually record the passing of valued items and their family associations from generation to generation. Salman is well-versed in a whole range of techniques employed by ceramic masters through time. The hardship experienced in his early years and the ensuing hard work, combined with his aesthetic accomplishments, culminated in an individual style characterized, in case of his current show, by using crystalline glazes as an artistic medium. His handling of this rich yet volatile material, putting it to the interpretation of the intense heat of the kiln, produced a glazed surface, which was vivid and unfettered. Both the fluid and profound effects of the Oriental brushwork, combined with the methods of modern abstract painting are present in his work.
He uses a variety of techniques, such as pouring, sprinkling, scraping and galvanizing, to create an unrestrained space in which the imagination is allowed to free reign. The constant changing crystals exude in poetical dynamics. His work is powerful while of immaculate quality, especially when one examines it under magnifying glass. There, a whole micro-world of beauty becomes visible; under observation, each perfectly shaped crystal gives forth its radiance, unsurpassed by other known artistic media in their expression of this microcosm.
Salman’s unique glazing techniques and his creative passion, coupled with a strong Oriental flavor, make his work unparalleled. It is fascinating how his modern artwork enlivens the vernacular tradition without staying traditional. With the help of his glazes, the artist succeeded in gaining an unmistakable glimpse into the essence of nature.
Salman has in his grip the threads of years of silk weaving that he has woven into shimmering brocade of crystals. The resulting work is profoundly poetic and meditative. His glazing techniques and his control of kiln temperatures enable the growth process of the glaze to intensify and to further develop under fire — a continuous rhythm of growth and blossoming, a manifestation of living nature is thus steered by its creator who is able to bring to life a lifeless object and instill it with boundless beauty and harmony.
Perhaps one of the most immediate and intimate connections between Salman and the process of ceramics is his relationship with the firing process. Sitting around the kiln as the heat pushes fiercely out of its mouth in invisible waves, stoking the fire through the small door that opens immediately into the body of the kiln, reading the clues the fire provides, Salman realizes that this act he and others are involved in is one that potters have participated in for thousands of years — one in which we seek each other, join in societies, find common threads and come together to be part of a community.
The aesthetics expressed in his work reflect the orientation of his inner spirit. He translates what touches him in life, solidifies it by the fire in the kiln, into poetry. The material foundation of this aesthetics is to transform the traditional forms of ceramics into an artistic agent of entirely new significance, making it an innovative modern art. The process of this artistic attainment, through tireless tempering and polishing, is a shared trait signifying the true spirit of all great artists.
Originally presented in Dawn Gallery,28 February 2004
issue, pp. 6-7.
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| Salman Ikram, who is acknowledged as an exceptional ceramist of this generation, even by his peers.
Playing With Fire. by Niilofur Farrukh
“I do not sleep when I am firing my pots. I just sit and watch the kiln, imagining the stages the glaze goes through,” says Salman Ikram, who is acknowledged as an exceptional ceramist of this generation, even by his peers.
After six years as a professional ceramics artist, Salman Ikram‘s passion for his work has not diminished. The recent collection on display at Karachi’s Chawkandi Art is indicative of a progressive development as he continues to challenge himself with new forms and glazes. The struggle has not been an easy one; often he feels it’s the lack of suitable clay that reins in his imagination.
“I do not sketch my pots ahead anymore, they come spontaneously,” says the potter.
Two glaze techniques have been used extensively throughout the show. One is the volcanic glaze that bubbles and erupts, leaving shared-like remains on the surface. The second is the crystalline glaze which leaves a satin smooth finish. Pots with the crystalline glaze sparkle as the natural light catches the embedded tiny crystals just beneath the clear glaze of the surface. Depending on the light in which it is seen, the iridescent colors alter the vibrancy of the pot. It’s only at close quarters and in a focused beam that it radiates tiny rainbows to the viewer.
Salman Ikram works daily in his studio to throw and glaze. “It took me over a hundred glaze experiments to finish these 60 pieces for the show, “he explains.
His passion continues to drive him to spend many sleepless nights as he waits to deliver his pots from the kiln.
“Remember, unlike other artists, we put our best work in the fire … if something goes wrong, I cannot even open the kiln and take it out.”
Originally presented in Newsline,
December 2005 issue, pp.116.
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| Salman is aiming at a challenging break through within the symmetry of thrown pieces to make every piece more dynamic and sculptural.
Ceramics by Design.
by Muzafar Ali
Salman Ikram‘s pots are an exploration of the
relationship between movement and time. Both in the form and surface, his pots are orchestration of geometry and colours which tell story of the making process. This relationship between from and surface is integral to Salman’s
aesthetic approach to ceramics. It is important to him that his pots
tell the story of the hands and the fire that brought them to life.
Salman is aiming at a challenging break through within the symmetry of thrown pieces to make every piece more dynamic and sculptural. Salman (national college of arts graduate) has an interminable passion for pottery and his exquisite pieces of ceramics have penetrating power and influence over their viewers. He said that working on a lump of clay swirling on top the ‘Wheel ‘was a pure thrill. “To give a form and a shape evolving in a mind to a lump of clay is pure bliss,” he added.
An identical shaped pot called the Vang Kuza named after the local word for a bangle was built by him with immaculate skill.
Salman said “my works is an exploration of materials and techniques which are employed to create individualistic forms, featuring a balance between shapes, texture and colours. I usually work on a single idea expressed by not a perfect piece, but a series a limited sequence of variations on basic relationship of forms “To me, crystals seem like beautiful painting on the surface of the pots which have undergone a trail by fire several times. They have that potential for no trace something can come out of the kiln.
They are organic and they are widely varied. I find the spontaneously formed crystal patterns in the glazes to be a never ending source of delight,” he concluded.
Originally presented in Weekly Independent, June
10, 2004
issue.
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As a ceramist Salman Ikram has an in depth working knowledge of glazing techniques.
An imaginative ceramist.
by Salwat Ali
Having last exhibited in Karachi in the year 2000 young ceramist Salman Ikram returned to the city recently with a fresh collection. Small scaled delicate forms, keen attention to detail and finish with particular reference to glazes were some noticeable features of his earlier work. His current solo show at Chawkandi Art, Karachi, was in many ways an affirmation of this specific approach. By and large the new body of work, still small in size, consisted of non functional display pieces with focus mainly on shape of form and accent on glazing and chromatic distinctness.
Salman Ikram is among the new generation ceramists of Pakistan who are translating its venerable traditions into a contemporary language. While western aesthetics exert an influence on his expression the Islamic and the sub continental ethos is also very much there. He innovates by modifying the vessel form. Playing with its size, rim, neck or belly he introduces subtle or obvious variations characterized by a very sensitive sense of balance. He admits to, “throwing my shapes on narrow feet,” which adds to the dramatic liberties he takes with other parts of the object. In his ‘Flying Series’ the compressed belly of the sphere is stretched laterally to an elegant roundness much like a UFO spaceship. Capped with a short neck and undulating rim the spheroid fans out like the flowing robe of a dancing dervish. He has cleverly managed to emit the feel of the whirling movement by keeping its resting base or feet hidden from view.
As a studio potter Salman Ikram works towards a geometric as well as an aesthetic balance. However, he makes creative use of flared rims, spiraling edges and undulating contours to impart flowing, often lyrical rhythms to his otherwise static objects.
Porcelain, stoneware and earthenware are categories of clays. Glazes are liquids often applied to their surfaces to seal colours and smoothen them. Firing is the process of heating the clays and glazes to harden them and make them more functional and longer lasting. As a ceramist Salman Ikram has an in depth working knowledge of glazing techniques. When it comes to finishing his pieces he is partial to satiny glows and glossy, finely flecked sheens but at the same time handles crusty, ruptured surfaces, volcanic textures and matte finishes with equal ease. Using both reduction and oxidation processes for desired effects he opts for the greater flexibility of gas firing.
Originally presented in Dawn Gallery, December 3, 2005
issue.
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