CULTURE & LIFESTYLE
Kalapremi’s artistic sanctuary
Sculptor and ceramist Gopal Kalapremi Shrestha, discusses his inspirations, and plans for publishing a book.
- Anusha Dhakal
Kathmandu,
Avant-garde, mysterious, and maximalist, Gopal Kalapremi Shrestha’s residential studio in Baluwatar has a personality of its own. Dimly lit, the stairway is adorned with esoteric, vivid and diverse artwork collected over the years. Gas cylinders line up on the floor like ants, powering the kiln for his ceramics.
The walls of his studio are filled with stacks of paint boxes, and the floor is scattered with eccentric statues whose forms range from the whimsically abstract to the hauntingly realistic. In-progress artworks are stacked on shelves, and tools hang on the walls and cover the floor, blurring the line between utilitarian and aesthetic.
In the living room, a cabinet contains artworks by his family members, including Shrestha’s wife and youngest son, who is teaching fine art abroad. Passing another flight of stairs, he shows me a rare ceramic method from China and miniatures made by his wife.
The top floor houses a kitchen, with a dining table adorned with huge vases featuring painted anthropomorphic figures—part of his ongoing collection, ‘Eclipse’. A shelf displays brightly glazed cups of various colours, and adjacent to this is a door to the terrace, where the family dog greets me with jovial barks.
The terrace maintains the same eccentric personality as the rest of the house—with pots and statues of varying sizes, shapes, and stories. Here, Shrestha shares his profound connection with crows and explains his fascination with the bird, whose imagery he frequently incorporates into his artwork.
Perhaps, touring his house before sitting down for a formal interview was an offering of an alternate kind of understanding—a prelude before I began to bore him with the quintessential questions of reportage.
You can tell a lot about a person by the objects they collect—or the ones they don’t. In Shrestha’s sanctuary of artistic clutter, you begin to understand him through the stories woven into each object. He shares these tales in a delightfully non-linear fashion, expecting you to piece them together on your own.
Shrestha is an artist who works in many mediums, though he is primarily known for his ceramics and sculptures. He also paints and writes poetry. According to him, the greatest pleasure in his career comes from mentoring young artists and imparting the knowledge he has gained.
He takes inspiration from all kinds of conflicts to incorporate into his artwork, both intrinsic and extrinsic. He has created pieces inspired by the Maoist insurgency and the COVID pandemic. He is also deeply fascinated by the female form, which he incorporates into his work.
In one of his art series, he features three sculptures of female goddesses linked to the well-known Sanskrit chant “Ya devi sarvabhuteshu,” which dictates that a woman can be both creator and destroyer. Shrestha says that he has great respect for mothers and derives great inspiration from them.
Autodidactic, with a penchant for learning the abstract, Shrestha is deeply curious and possesses remarkable inquisitiveness. He is mostly self-taught, “My curiosity made me an artist. As an eager individual, I would board a random bus from Ratnapark with no destination in mind. Wherever I would end up, I would paint the landscape,” he says.
Perhaps this curiosity led him to foreign lands, where he began to understand different types of art forms. Initially fascinated by terracotta statues, he learned the chemistry behind the glazing technique from a French artist during a residency in India—a method he then incorporated into his own work.
Additionally, he collects a diverse range of artworks during his extensive travels, turning his home into a museum of sorts.
“I have a deep disdain for people who fetishise the suffering of artists; artists can make good art without suffering,” says Shrestha, while also acknowledging that much of his work is driven by deep emotional turmoil. His recent ongoing work, ‘The Eclipse’, represents a time of distress due to various circumstances.
“An artist harbours deep curiosity, someone who pays close attention to all that is around him,” says Shrestha as he recounts his childhood. Even though he grew up in poverty, he fondly looks back at his early years. At this point in life, he finds himself deeply nostalgic for his childhood days, so much so that he is planning to write a book on nostalgia. “I want this book to be a remembrance of the time I am from,” he says.
Shrestha is a prodigal talker. He is informed, ardent, informal, and relaxed. He habitually quotes individuals such as Gautam Buddha, Vincent Van Gogh’s sister-in-law, Johanna van Gogh-Bonger, Jean Jacques Rousseau, and Chinese artist Ai Weiwei—drawing from a reservoir of arcane wisdom and recondite insights.
His recollections are vivid, descriptive, yet fragmented and emotional. He has a deep gratitude for his friends who helped him make the ceramics field more popular in Nepal. He recounts meeting Ian Martin, whom he befriended on a single day in 2006 when he was visiting Nepal for peace talks amid the Maoist insurgency.
When he befriended Martin, he was unaware that Martin was a UN official and conversed with him too casually—with multiple pats on the back as well. The following day, he saw Martin in the newspaper and was befuddled and a little embarrassed to have treated a dignitary so informally.
He called Martin again, and they stayed in touch in the years that followed. Shrestha says that Martin also brought him boxes filled with books on ceramics as a present, something he is deeply grateful for.
Deep into the conversation, he breaks the interview’s fourth wall with piercing honesty, “When you interview me, your worldview and biases are inevitably reflected. In writing about me, you inevitably write about yourself,” he asserts, something with which I vehemently agree.
“The world, nature, and our energies are deeply connected,” muses Shrestha, who identifies as deeply spiritual rather than religious. He feels it is essential to distinguish between the two. “I believe in energies,” he says.
His art exhibitions, like ‘Heroes’, featured 108 sculptures. In ‘Where the Wild Things Are’, Shrestha uses ceramic art to explore the impact of the pandemic and value the power of women.
In his series of artistic chess pieces called ‘Tharu’, inspired by tribal motifs, he is influenced and inspired by the socio-cultural changes in Nepal.
His extensive body of work spans various genres and periods, for which Shrestha has received numerous accolades, including awards from the Royal Nepal Academy (1983), the National Art Competition for Contemporary Sculpture by NAFA (1985, 1986), the National Art Competition for Contemporary Ceramic Sculpture by NAFA (1996), and the Creative Artist Man of the Year award presented by the Nepal Art Society (2005), among others.
But in his quiet house, brimming with students he mentors on sculpture and ceramics, Shrestha finds himself detached from it all. Amid the comforting familiarity of his surroundings, he self-reflects, internalises, and eventually attempts to understand himself and the world around him.
Amidst sentimental objects and books fervently memorised, Gopal is simply kalapremi, a faithful lover of arts.
CULTURE & LIFESTYLE
Kalinga Literary Festival to feature over 300 writers
- Post Report
Kathmandu,
The 3rd edition of the Kathmandu Kalinga Literary Festival, hosted by Yashaswi Pragya Pratishthan, will take place on September 7 and 8, 2024, in Hotel Himalaya. Organisers said the festival will feature over 300 writers and poets from Nepal, India, Bhutan, Bangladesh, and Sri Lanka. The festival’s central theme is ‘The Gateways to Asian Art, Culture and Literature’.
According to Ranjana Niraula, the festival’s founder and director, this event aims to strengthen cultural and literary ties between Nepal and other South Asian countries.
Participants include International Booker Prize-winning author Geetanjali Shree, acclaimed writers like Jerry Pinto and veteran singer Usha Uthup from India. From Nepal, participants include playwright Abhi Subedi, poet Tulasi Diwasa and political journalist CK Lal.
The festival will also introduce the Yashaswi Book Awards, honouring 15 writers in various categories such as fiction, non-fiction, poetry, and children’s literature. These awards aim to recognise and encourage writers across genres.
Yashaswi Pragya Pratishthan has now called for books for the Yashasvi Book Award. Books published by the end of 2080 Chaitra, written in Nepali or English by Nepali authors, are eligible.
Three copies should be delivered to the Yashaswi Pragya Pratishthan office in Ghattekulo, Kathmandu, by July 5. The five best books in categories including fiction, nonfiction, poetry, history/culture/research, and translation will be awarded.
Winners will receive a certificate and Rs20,000 cash at the festival on September 7.
CULTURE & LIFESTYLE
Williams at Louis Vuitton celebrates the diversity of human skin
Models wearing garb paraded on grass, creating a visual symphony of heterogeneity.
- ASSOCIATED PRESS
PARIS, France
In the run-up to the Paris Olympics, Louis Vuitton celebrated the beauty of humans and their skin in a star-studded menswear showcase at the headquarters of the UN cultural agency UNESCO in Paris. Models wearing garb in all the hues of human flesh paraded around a giant globe on grass patterned in Vuitton’s signature Damier check, creating a visual symphony of diversity.
Here are some highlights of spring 2025 shows:
Vuitton’s human
“It was a homage to human beings,” said menswear designer Pharrell Williams, who name-checked the Summer Olympics, for a show that felt like a journey across continents against a backdrop of the Eiffel Tower and a giant shell globe. “It went from black to dark brown to brown to light brown to beige, a little bit of grey… and then finally to white,” the singer-turned-couturier said of the spring display.
The spectacular collection prominently featured checks in shades of green, blue and black, drawing inspiration from the designs of Air Afrique luggage. This airline, which operated from the 1960s and for decades, has become a symbol of diasporic creativity, according to Vuitton. With contributions from creatives like Lamine Diaoune and Djiby Kebe, Williams infused the collection with a sense of global unity.
Inspired by the UN cultural headquarters populated with ambassadors, Williams explored various archetypes. The diplomat was featured in deep, rich tones of 1970s-inflected tailoring. The explorer appeared in sturdy yet stylish outerwear, including utility jackets and vests. The dandy, another key figure, strutted down the Damier-check grass runway in jackets and coats adorned with rhinestones and pearl embroidery.
Set against a dramatic sky, with shifting clouds and fluttering world flags, the collection’s progression of colours mirrored the diversity of the models, moving from darker to lighter tones in multicultural harmony. This theme extended to the garments, which included pixelated python skin patterns and world maps centred on Africa.
A reinterpretation of the Damier pattern featured pale brown checks with multicoloured accents. Soccer ball leather designs paid tribute to the world’s favourite sport.
The show blended complexity with apparent simplicity—and the richness of the diaspora.
Enamel maps were embedded in buttons, and the LV logo appeared subtly embossed on materials. Intricate details like black-on-black embroidery and crystal and pearl accents added layers of sophistication. Elsewhere, vintage-inspired designs in soft leather had oversized monogram patterns and aged leather trims.
However, the celebrity designer made the show almost more about the act of putting on a spectacle.