In a career spanning over three decades, the sculptor G Reghu She has made a name for herself with her remarkable ceramic sculptures, which draw deep inspiration from nature and vividly depict the lives of indigenous communities. Her extensive travels to regions such as Wayanad and Bastar have infused the essence of these cultures into her clay creations, bringing them alive in her art.
His works reflect a deep connection with the natural world, depicting the emotions and stories of the tribal people and this unique blend of nature and tradition has earned him recognition as one of India’s leading sculptors.
A collection of his artworks was recently displayed at an exhibition organised by the Kerala Lalithakala Academy at the Durbar Hall in Kochi. Despite exhibiting his work extensively across India, this was the first time his sculptures were displayed on such a large scale in his home state.
The exhibition mainly showcased sculptures depicting the everyday life of the tribal people. Frequently featured sculptures included sculptures of mothers with children, agricultural scenes and many intricate figurative works of human faces. Six bronze sculptures were also on display along with her signature ceramic pieces.
Reghu’s connection to Bastar is due to its rich tribal diversity, where every community has its own artistic traditions. Though his main focus remains on human figures, his sculptures of animals – cattle, birds and dogs – symbolise the deep interdependence between man and nature.
“Human lives and faces are central to my work, but animals also play a role in showing how interconnected our lives are,” he explains.
Kerala Lalithakala Academy chairman Murali Chiroth said that despite being a Kerala artist, Reghu’s artworks were not widely popular among other artists from the state and that was why they decided to hold an exhibition to showcase his sculptures.
“His sculptures reflect the essence of India, but at the same time, he is able to blend the traditional and the modern. Very few artists work with ceramics, but he has pushed the boundaries of this medium,” he said.
Reghu’s journey to success was full of hardships. Growing up in poverty in Kilimanoor, Thiruvananthapuram, Reghu was introduced to the world of art by Elizabeth Baker, wife of British-Indian architect Laurie Baker, when he was in Class IV. “The Baker family were my guardians,” Reghu recalls. “They gave me a room in their premises and supported me. My interactions were mostly with Mrs Baker, who introduced me to art and provided me with materials to work on my craft,” he said.
Attracted to figurative art from a young age, Reghu chose sculpture over painting because of its tactile, three-dimensional nature. “I specialise in sculpture because it is more than just something to look at – you can feel it with your hands. I love the process of shaping clay and bringing it to life,” says the 65-year-old artist.
Tensing Joseph, former principal of the Fine Arts College in Thiruvananthapuram and Reghu’s batchmate, said Reghu’s difficult upbringing reflected his works. “During our ‘life study’ sessions, where we would model figures, Reghu’s work always reflected the struggles of a poor person,” he says. Joseph believes Reghu’s hardships gave a distinct identity to his art, giving him a unique place among other sculptors in the country.
After graduating from the College of Fine Arts, Thiruvananthapuram, Reghu’s passion for sculpture took him to Bharat Bhavan, Bhopal, where he trained under the guidance of renowned artist J. Swaminathan.
Reghu’s stone sculptures, which are fired at 1240-1280 degrees Celsius, are known for their natural, earthy colours. Over the years, he has developed his own technique, using natural oxides such as iron and manganese for colour, rather than relying on chemicals.
He says, “I mix different types of clay for my sculptures, but even a slight change can ruin the artwork. That is the challenge of ceramic art.”
Reflecting on Reghu’s art, painter and curator Bose Krishnamachari said, “His work has a playful, childlike quality, yet it resonates with familiar elements that connect it all.” “I have followed his work for decades, from exhibitions at Gallery Chemould in Mumbai to various venues in India and abroad. His pieces are easily recognisable in a crowd. It is challenging for artists to create life-size sculptures in ceramics, but it is something he has mastered over the years,” he added.
Renowned New Delhi-based artist Roy Thomas praised Reghu’s unique paintings and pointed out its relevance to contemporary Indian art.
He said, “Reghu’s art has challenged stereotypes and presented a unique perspective that transcends regional elements. While incorporating Indian cultural influences, his works maintain a universal appeal, which sets it apart from imitations of European modernism.”
For Reghu, clay is not just a material but a medium of expression. “You can give shape to your imagination with clay because it gives you complete freedom to mold it the way you want. It is like a language we share, a dialogue between the artist and the material. I express a sculptural idea, and the clay guides me towards its realization,” he says.
