Artist Ravikumar Kashi’s upcoming exhibition reimagines paper as more than just a surface

Paper is often seen as a surface — something to write on, sketch over or fold away. But what if it could be more? For his latest exhibition — We Don’t End at Our Edges — artist Ravikumar Kashi pushes the material beyond its traditional role, turning it into a language of its own. The exhibition challenges how we perceive both text and texture, inviting viewers to explore the fluid boundaries between material, language and meaning. Ravikumar takes us through the exhibition, talking about its inspiration, what drew him towards paper, the challenges he came across while working on the exhibition and lots more…

Your upcoming exhibition at the MAP presents a unique body of work. What inspired the idea behind this exhibition and how does that manifest in your work?

For 25 years, I have worked with paper rather than on it, shaping it as a material instead of just using it as a surface. My journey in papermaking started at the Glasgow School of Art in 2001 and later took me to South Korea, where I trained in Korean and Japanese techniques. In my studio, I create pulp from plant fibres like banana and grass, moulding it into sculptures or sheets when wet. My recent work explores pulp painting, where I use a nozzle to apply pulp in a fluid, drawing-like manner, allowing for large-scale works up to 22 feet. The exhibition, We Don’t End at Our Edges, reflects the permeability of human existence — physically, emotionally and socially — through organic, cell-like structures that suggest, rather than depict, this theme.

Paper plays an active role in your work. What initially drew you to this material?

As a child, I visited Visvesvaraya Museum during school trips. They had a live papermaking demonstration, which fascinated me. Later, in high school, I read an article in a magazine about making paper and even attempted it myself. After completing my studies, I sourced paper from Magadi Road and experimented with sculpting it. My formal training in Glasgow significantly expanded my understanding of paper as an artistic medium. In Europe, I saw many artists working with paper, whereas in India, very few have explored it in depth. I would even say I am one of the few artists who has worked with paper extensively for over two decades.

How does language function in your work, both personally and collectively?

Aside from being a visual artist, I am also a writer, with seven books to my name, including Kannele, which won the Sahitya Akademi Award. Kannada has deeply shaped my worldview, as I studied in the language until the 7th standard and was influenced by writers like Kota Shivaram Karanth, Poornachandra Tejaswi, UR Ananthamurthy and Girish Kar nad. Though I pursued an MA in English Literature, Kannada remains my primary language of thought. In my artwork, I use Kannada script not as readable text but as a visual element. Since paper has historically carried language, I take this further by writing with paper rather than on paper, merging content and form to create a more tactile, visual experience of language.

Light and shadow seem to play a crucial role in this exhibition. Could you elaborate on their significance?

Yes, light and shadow add an additional dimension to my work. Since my pieces are sculptural installations rather than flat surfaces, shadows help establish their three-dimensionality. The way shadows shift with changing light further enhances the viewer’s experience. We carefully stage the exhibition to create dynamic interactions between light and form, making the works feel alive.

What challenges did you face while working on this series?

Perfecting the pulp painting technique was the biggest challenge. I accidentally discovered that a more liquid pulp consistency worked better while helping a student during a workshop. Initially, the pulp would get stuck in the nozzle, but once I solved that, I experimented with colours, thickness, transparency and scale. Creating larger pieces — starting at 13 feet and later 22 feet — introduced structural issues like fragility and breakage, which I tackled step by step. Since I work alone, I have the freedom to experiment, allowing creativity to thrive in play mode, guided by curiosity rather than external pressures.

Entry free. March 8 to June 15. At Museum of Art & Photography, Kasturba Road.

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