In the 15th century Japan, a shattered Chinese tea bowl in the palace of a Japanese king prompted Japanese craftsmen to look for a more aesthetic means of repair. Some of them even began to deliberately smash valuable pottery to find a new technique. Bits of these shards made their way to Goa through the sea trade route, while transporting tea. Years later, it was discovered by a local fisherman, and stitched with black Joinery, a technique he knew from years of stitching boats with tar. Eventually, he began to notice that the pot started to distort due to Goa’s hot climate.

Diptej’s installation, comprising of three sculptures, is about the history of material and its importance conceptually. The first work is made up of potsherd found around old Goa, and is a reference to the history of trade between Japan and Portuguese-Goa, which doesn’t exist today. The second sculpture is a ‘melting chandelier’, made up of recycled wax, originally used for votive figurines in church. The third piece, the ‘sprouting chair’, refers to the colonial Portuguese in Goa, and their vanishing presence in the state.
Time, or constant change, ties the sculptures together. The objects before you are partial truths, constantly affected by the space they inhabit. Whether it’s melting wax, drying shrubs, or melting tar— all these become metaphorical representations of our own mortality.



Curated by Shaira Sequeira Shetty

Story of Space Festival,2017