Important Notice

Somnath Hore rekindled his interest in bronze following the end of his stint at Kala Bhavana in 1983. He constructed a complete metalworking apparatus at his Lalbandh home. Hore worked out of his kiln and forge, making “sheets of genuine beeswax, bending flexible sheets, fragmenting the hard ones and then standing them upright with the help of wax rods of varied sizes.” The resulting sculptures were the proportional opposite of the mammoth... Somnath Hore rekindled his interest in bronze following the end of his stint at Kala Bhavana in 1983. He constructed a complete metalworking apparatus at his Lalbandh home. Hore worked out of his kiln and forge, making “sheets of genuine beeswax, bending flexible sheets, fragmenting the hard ones and then standing them upright with the help of wax rods of varied sizes.” The resulting sculptures were the proportional opposite of the mammoth 44-kilogram bronze sculpture he’d produced in the aftermath of the Vietnam War in 1977. Hore situated the compact aspect of his works in the context of his process, “The wind can pass freely through the figures. I find it comfortable to just call them bronzes. They are small in size because they are the result of ten fingers working on sheets of wax. I tend to eschew the initial armature. My attempt is always for the work to be situated in its own construction.” (Somnath Hore, “My Concept of Art”, Somnath Hore, R Siva Kumar, K S Radhakrishnan et al, Somnath Hore, New Delhi: Arthshila Trust, 2021, p. 238)

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