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6. COMMERCIAL ADS (PRINT)
Times of India Rajasthan Patrika Vijaya Karnataka
CITY BangaloreMirror | MONDAY, DECEMBER 26, 2016www.bangaloremirror.com/bangalore 6
| Deepthi.Sanjiv
@timesgroup.com
TWEETS @deepthisMirror
MANGALURU When CR Naik, Deputy Range
Forest Officer, Dandeli Anshi Tiger Reserve
asked Dr Gururaja KV, Adjunct scientist at
Gubbi labs and Faculty at Srishti Institute of
Art, Design and Technology and Batrachologist
to identify a call that he found unique, Dr
Gururaja thought it was that of a kingfisher.
When Naik told him that it was frog call, Dr
Gururaja was convinced that an indepth study
was required.
Speaking to Bangalore Mirror Dr Gururaja
said, “We encountered a species of Euphlyctis
while undertaking a frog survey in the coastal
areas of Karnataka this monsoon season. The
frog described in the paper was encountered
first by Naik during a citizen science initiative
in Sanikatta, Kumta and the same species was
simultaneously encountered by Ramit in
another location as part of “My Laterite: My
Habitat” - an outreach and education initia-
tive. The frogs did not match any of the
described Euphylctis species and from the ini-
tial morphological comparisons; it appeared to
be a new species.
A team comprising Priti H from Ashoka
Trust for Research in Ecology and the
Environment (ATREE), Bengaluru, CR Naik, KS
Sheshadri, National University of Singapore,
Ramit, an Independent Researcher, Vidisha
MK from Gubbi labs, Ravikanth G from ATREE,
Bengaluru and Gururaja KV from Gubbi Labs
have described the new species Euphlyctis
karaavali sp. Nov (because of its presence in the
Karnataka coast) in the paper published in
Asian Herpetological Research.
The species were observed from Sanikatta,
Baire, Chendia, Kadwada and Tariwada of Uttar
Kannada district, Kodanga in Manipal and
Konaje in Mangaluru.
Speaking about the new species, Dr Guruaja
said, “This new species is assigned to the genus
Euphlyctis as it is a large adult aquatic/semi-
aquatic frog; snout pointed and elongated;
obtuse canthus rostralis; eyes positioned more
towards top of head; tympanum large; strong
skin fold from eye to shoulder; paired lateral
vocal sac; digits without discs; prominent web-
bing in feet; fifth toe is free up to the base;
well-developed inner metatarsal tubercle;
spatulate tongue, free behind and bifid.”
With the description of E. karaavali, there
are now eight species of Euphlyctis and the
team suspects much more to be revealed by
systematic surveys using an integrative taxo-
nomic approach. The report also brings to the
fore the importance of citizen engagement in
the progress of Science. “Our report demon-
strates the partnership between citizens and
scientists in discovering species in human-
dominated landscapes. Such discoveries are
greatly increasing the ecological data.
Another highlight of our study is the dis-
covery of a new species in largely human-dom-
inated landscapes and agricultural areas. A vast
landscape of India is human dominated and
amphibian diversity is known to be high in the
protected areas of Western Ghats. The areas in
which we found the new species are largely
unprotected and disregarded habitats,” said Dr
Gururaja.
Scientists
find new
frog species
A
spinwall House is a large sea-facing
heritage property in Fort Kochi on
the way to Mattancherry. The
property was originally the busi-
ness premises of Aspinwall & Company
Ltd established in 1867 by English trader
John H Aspinwall. Under his guidance,
the company traded in coconut oil, pep-
per, timber, lemon grass oil, ginger, tur-
meric, spices, hides and later in coir, cof-
fee, tea and rubber.
The large compound contains office
buildings, a residential bungalow and a
number of warehouses and smaller outer-
lying structures. Aspinwall House will be
a primary venue of the Kochi Biennale,
hosting numerous artist-led projects and
event spaces.
“FORMING IN THE PUPIL OF AN EYE”
The Kochi Biennale is here and with artist
curator Sudharshan Shetty’s concept note
is a quote from the Rig Veda. He invites
us to look at the world in all its multiplic-
ity of vision. It is the same vision that the
sage experiences after he opens his eye
after his meditation. What do we see
when we encounter poetry in space? As
visitors, we encounter this venue with
the memory of past art works that we had
remembered from previous visits. Does
the mind remember the residue of the
past, can we look at materials and recol-
lect memory. Can the space become a
palimpsest of memory and loss? Can we
experience the present without reference
to the past?
Amidst the many works of art, poetry
and performance, I come across the
works of an elusive artist from Bengaluru.
Prabhavathi Meppayil has been consist-
ently honing her skills from her own
ancestry of jewellers. Her trajectory has
been a solitary journey that has taken her
deep into artisanal skills that are used to
make gold jewels. How to use less to say
more? How to make solid gold into
thread, weave it, string pearls and pre-
cious stones to create objects of sheer
desire. The craft involves punching,
embossing and casting this precious
metal to fashion ornaments. Prabhavathi
leaves the gold behind and uses the skills
and elaborate material culture to journey
into an abstraction. She focuses on disci-
p l i n e a n d p r o c e s s . H e r e
material becomes metaphor, as the artist
yields meaning from the act of using the
materials to unravel the repetitive pro-
cess, like a mantra, a haiku
without words. The artist revisits her
works to evoke poetic fragments from the
past and a finely skilled surface of board
- gesso polished like marble to reveal
strands of metal wires like a garment to
be woven.
A student of the Ken School of Art, she
is from a generation of artists who were
searching for a figurative language that is
personal and political. Prabha, as she is
called by friends, is often engrossed in
her studio in the busiest part of the city.
Prabha’s world revolves around her close-
knit family who have an ingenious house
in Chickpet. Her father and brother are
jewellers who continue a living tradition
of handcrafted jewellery that survives
amidst the mass produced, machine
made chunky jewellery we often see on
hoardings. They live a tradition and have
been part of the fabric of this city that
valued traditional skills of jewellery for
its purity and integrity. Jewellers, like
doctors, build on trust, ethics and family
traditions. In an age of migrant workers
who are cheaper from Bengal, her
own studio is surrounded by young men
living and working through the exploits
of labour and current fashions of the
market.
Prabhavathi’s family tradition also sur-
vives this competitive edge where a
sophisticated machine replaces families
and traditions and gold never goes out of
fashion. In the male-dominated gold
market economy, the artist enacts with
materials and tools a modernist object
that is minimal and poetic and creates a
feminine space for work.
Deepak Ananth eloquently says,
“Meppayil has arrived at a form of
abstraction via an exploration of a poet-
ics of making rooted in an artisanal prac-
tice. The daughter of a goldsmith, she
transposes the rudiments of an ancestral
savoir-faire as the basis of a contempo-
rary plastic language for critically revisit-
ing the modernist/minimalist crux. The
process-oriented dimension of art-mak-
ing to which she has been increasingly
drawn over the last few years accords a
primacy to materials and work imple-
ments : the markings that are the
imprints left on a white surface by a
range of goldsmith’s tools, notably thin-
nam, miniscule indents whose shapes
depend on the particular inflection, the
angle or bend, of the metal instrument’s
tip. So the means deployed couldn’t be
more exemplarily minimal: notches,
repeated at close intervals on an immac-
ulate gesso panel, that follow the shape
of the support.”
To quote from Prabhavathi’s
early statement, “The notion of move-
ment is not unfamiliar to me. The place
I live in is a picture blurred by never
ceasing activity - a melting pot of vari-
ous cultures and traditions brought by
people who have come from far away
and made this place their home. When
I was invited to be part of this Khoj
Project with a Bangladeshi artist, the
first thought that occurred to me was
about the place l live and work in, where
several migrant goldsmith communities
live. They come here bearing their
unique skill, the use of delicate hands to
turn a piece of metal into fine jewellery;
a craft which has been passed down over
generations. They come mostly for sur-
vival; I wonder if it could also be for sur-
vival of their craft. Some are also
Bangladeshi immigrants who
conceal their identities to merge into
our society.”
“In the Shanthiroad studio, I chose to
work in the kitchen which was almost
empty. I moved out the few things that
were there; the space carried the reso-
nance of absence.
“I picked up these pieces of flesh,
which contain several fossilised layers –
smell, touch, sound, memory and loss. I
etched on them with my goldsmith tools,
marks like a prayer and placed it in the
kitchen.”
Prabhavathi gathers the fragments of
memories to weave a solitary song that is
poignant and poetic.
(Suresh Jayaram is a visual artist, cura-
tor and art historian. His column features
perspectives on the arts)
PrabhavathiM:Minimalpoetrybetweenmemoryandloss
Prabhavathi Meppayil uses the skills and elaborate material culture to journey into an abstraction
Seshadri KS
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CITY BangaloreMirror I MONDAY, DECEMBER 26, 2016www.bangaloremirror.com/bangalore 6
NG 3.5PubDate: 26-12-2016Zone: BangaloreBSEdition: 1Page: MRBGP6User: giriraj.kyTime: 12-25-2016 20:57Color:CMYK
17. EVENT MANAGEMENT
1. Private & Corporate Events
2. Festivals
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6. Dealers Meet
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WE DO ALL KIND OF EVENTS
