We spoke to Daksha Patel about her new artwork Pani, which you can see for free in the Natural History Gallery.
What was the inspiration behind Pani?
The work is about water and our relationship with it. A significant part of the human body is comprised of water, and it is central to all ecosystems. Water is a symbol of purification in many South Asian cultures, and yet it is also contaminated and a source of pollution. Water moves across boundaries - geographical, political, economic and cultural - it is a highly contested resource.
Whilst looking at maps of ecosystems across South Asia, I began thinking about how water moves across boundaries - geographical, political, economic and cultural - and how it is a shared, and consequently a highly contested resource.
This simple molecule - H2O - is central to our biological selves and permeates ecosystems. It also permeates culture, and is implicated in all kinds of cultural and religious practices; for instance the concept of holy water is found in many different cultures.
In South Asian cultures, water is often a symbol of purification through the ritual act of cleansing the body. And yet water is also routinely contaminated and polluted causing immense harm to humans and to ecosystems.
The complex relationship that we have with water was the starting point for the work.
How did the Horniman influence Pani?
The Horniman is a really interesting Museum because it has such a diverse range of collections. As part of my research for this project, I visited the museum stores and looked at collections of South Asian water vessels and textiles. The shapes of the water pots, and the colours and patterns upon the textiles have all influenced the final work.
But also, the way in which the Museum becomes wonderfully animated as groups of school children move through it has influenced how I think about the work. I’m interested in how they will engage with it as they move through the space.
How did Pani develop from your initial thoughts to the display in the Natural History Gallery?
Ideas evolved and changed from my original proposal as I started testing and exploring materials.
I had initially imagined the map would be printed upon paper; the idea of printing it upon cloth and of using embroidery as a way of drawing into the map developed over time. This was influenced by the collections and a desire to make links between ecosystems and the cultures of the region.
Similarly I had originallyplanned uponmaking drawings with slip (a mixture of clay and water) upon ceramic water pots. I have used slip as a drawing material in past projects and was keen to develop this further. As I was researching the impact of water pollution upon the human body (for instance high levels of arsenic in water causes rashes and blisters upon the skin), I started to think about the pots as bodies. The idea of damaging the pots by cracking/distorting their surface evolved from that.
What do you want people to think about when they see Pani?
The artwork makes connections between different things, for instance between ecosystems, water pollution and cultural traditions, or handmade crafts practices and twenty first century digital mapping technologies, or mapping symbols, drawing and embroidery.
The central theme of water is addressed indirectly - I wanted to allow space for the imagination to make its own connections. Once a piece of artwork is completed and moves into the public realm outside the artist’s studio, it takes on its own life and meanings. Everyone brings their own interpretations; has their own way of looking at it.
You can see Pani in the Natural History Gallery from Saturday 20 May to Sunday 26 November 2017. Entry to the Gallery is free.
The Horniman is grateful to Roseberys Fine Art Auctioneers for their generous support of this display.