Artist Balan Nambiar needs no introduction. The man dons many hats — he’s a sculptor, painter, enamellist, photographer, researcher and academician. His residence, in Bengaluru’s RT Nagar, has the makings of a mini museum in itself. Right from the entrance to his dining room, his home is brimming over with his work. There are art installations of all sizes and designs in copper and steel. Then there are wall hangings, enamel paintings in silver and copper, besides traditional Kerala brass lamps hanging from the ceilings.
We head towards his studio and library, both of which are full of research material, books he has authored and the many working tools of his trade. “I do everything for my art from scratch,” smiles Balan, who has double reason to celebrate.
Two of his installations, titled Symbolising Shakti and Kannati Bimbam will be displayed at Museum Rietberg, Zurich Switzerland from May 16. The exhibition is titled Mirrors – The Reflected Self.
Balan says that the exhibition “presents a comprehensive history of the mirror, reaching back 8,000 years, covering topics such as mirror images and self-awareness, vanity, beauty, mysticism and magic, protection and defence, and today’s most fashionable mirror — the selfie.”
Amongst these will also stand Balan’s installations.
“These are a result of my research on mirror idol worship in Kerala. Mirrors are usually installed at the sanctum sanctorum, commonly seen in Bhagavati temples in northern Kerala,” he explains. He adds that it is considered among the highest forms of worship in Kerala.
Traditionally, such mirrors were made in bronze, often using panchloha, an alloy of five metals comprising copper, silver, gold, tin and zinc. Balan has used stainless steel for the purpose. “Steel is a durable material. In order to fashion these models, I start with sketches, computer-generated drawings, laser cuttings and TIG welding to achieve the required precision and composition.” Balan also adds that he loves to find a rhythm in asymmetry, which he says has played a big role in most of his works.