In the Garo lexicon, the word A·kakki refers to clay. Clay has been used since the earliest civilisations to make products which are meant for various purposes. In Garo Hills, archaeological findings have indicated that the art of pottery can be dated back to more than 2000 years. Eleanor Mikkimchi Sangma speaks to Arak M, Sangma, the creator of A·kakki Studios on the art of clay.
Identities moulded in its very texture, clay essentially births products which have proven to be an early marker of artistic and creative expression.
Arak M. Sangma, the creator behind A·kakki Studios, remembers playing with clay as a child and making little figures. He used to enjoy modelling fruit and other shapes out of clay. “I believe my passion for clay began at a young age”, he says. As he grew older, he had the opportunity to study more about it and hone his skills.
Arak has been an avid painter since a very young age, also having taken several commissions from fellow aesthetes. Previously, he had worked with canvas as a medium for art, but has recently shifted his focus to terracotta. It wasn’t until 2020 that he began making his own terracotta clay sculptures. “With the help of my family and all of my well-wishers, I’ve been able to develop and expand my work”, he says. In the past couple of years, he has been able to exhibit and sell his products at Winter Tales Festival in Shillong. His artwork is also on display and has been put up for sale at the Meghalayan Age Store in Delhi. “I’m still in the beginning of my journey and I’m hoping for and expecting the best”, he says.
The A·chik tribe has lived in tune with nature since the beginning. The essence of the Earth spread through articles used in daily life as well as through their creative expressions.
Arak finds inspiration from his cultural roots and nature, while experimenting with new mediums; fusing the old and the new, which is an art in itself. “With the foundation of several cultures ideating that the human race was made from clay, I find that the basic earthy medium of clay is best suited to convey the substance of my sentiments when exploring the theme of origination”, he tells me. In a quest to go back to his roots and understand it well, he found that clay as a medium offers him a deeper connection to nature. “In handling soil and Earth, I find myself being able to connect to the greatest artist, to which all beings and art belong to, Mother nature”, he says.
One of his pieces, the akima, was inspired by the traditional kima, which is a wood sculpture that is assembled in remembrance and honour of the dead. On the other hand, the bull is an example of the interplay between art, memory and nature. “The bull is a dog-eared page in my book of memories”, he says. The piece is reminiscent of a core childhood moment for him. It comes in flashes, memories of himself with a group of friends crowded under a jackfruit tree, masterfully shaping a bull out of its leaf. Years later, the artist aims to recreate what he calls “the most prized possession” of his adolescence with clay. In doing so, he is paying tribute to the shared memory of a bull that had carved a brotherhood between him and his friends, under the canopy of a jackfruit tree.
“Another source of inspiration for me is old art practises, such as utilising sustainable measures to assure a green path to a final art piece”, he says.
The actual process of creating his art pieces involves physical labour, a collection of trusty sculpting tools and a whole lot of patience. His sculptures are created using the basic procedure of wedging the clay to get a smooth texture with no air pockets. “This is a critical procedure that consumes a significant amount of energy”, he tells me. He has to wedge the clay manually himself as he does not own a wedging machine. The next step is to pound the clay into a sheet; sometimes he immediately sculpts it into whatever design is desired. The sculpting is followed by smoothening of the product using a moist cloth, which is then dried naturally. He fires his products using the traditional manner, where the products are stacked on a rack above an open fire.
“As I’m not using a kiln, the results could be unprecedented because it’s difficult to control the temperature of the fire”, he says.
Arak feels there are very few platforms and channels for artists and artisans to exhibit their products, particularly for clay art and sculpture. Platforms where artists with similar interests may interact and inspire one another are also lacking. Besides that, there are personal challenges he has to confront while working, especially while firing his products over an open fire. “I may have spent a long time on my art piece, but owing to the unpredictable temperatures of the fire, my clay pieces may break”, he tells me. Another issue he faces is regarding the procurement of clay. He utilises clay found locally in Boldamgre village, which is an ancient site of pottery manufacture. This poses a difficulty in obtaining clay due to the distance and supplier limitations. Yet, his connection to art is ever strengthening.
When asked what his art means to him, he tells me, “For me, my art is a conduit through which I can fulfil my desires to delve deep into my own self”. It allows him to comprehend the substance and meaning of existence in the work that he does, work that culminates in both absorption and meditation. He hopes for the same in all future works of his that incorporate a sense of the Earth and home that nature and Garo Hills represent.
The artist intends to establish a studio, which is currently under construction. In the near future, he hopes to hold exhibitions and workshops in that space. “This studio would also serve as a platform for other artists to present their work and collaborate in order to encourage one another”, he says. “These are all plans for the future, so let’s hope they go well”, he adds.
Art is creative and imaginative, a storehouse of history and culture. Yet, many do not understand the importance of it. “In our community, there is a lack of support and appreciation for art; people are quick to criticise and mock without researching and learning about the works of any artist”, Arak says. He believes that as long as we do not and cannot grasp the worth of art, we will be unable to preserve our culture and art. Realising the importance of art is the first and foremost step in the attempt to conserve it, he feels.
“We retain our identities, our stories, and our civilisations when we preserve art”, he states. He feels that in order to preserve and promote our art and culture, people must cultivate respect for the same and learn the ideals and substance of our traditions; only then can we find beauty in it. “While the world is changing, I would like to encourage our community’s youth to never forget their roots and to always remember the core of our culture”, he urges.
Many artists approach their art through the lens of identity. It allows them to investigate deeper into themselves and identify their place within the contemporary culture. The terracotta art that Arak moulds into shape, is an exploration of identity – personal and cultural. By leaving his mark on each engraving, he establishes a strong sense of self through his artwork.