Daroz (2018)

ceramic walls / reliefs / installations





























January 2017

ceramic walls / reliefs / installations





























January 2017

In 1972, Daroz assisted his teacher Professor K.G.Subramanyan to
make the Bangladesh terracotta mural series with slabs. This is when
he understood that one can be inspired by tradition and combines it
with contemporary concept, that an ancient, time-tested technique,
such as that of pot-making, when used in combination with a modern
sensibility, it is charged with relevance and context.

Today Daroz’s name has become synonymous with Architectural
Large-Scale Ceramic Installations in India.

The ceramic large scale wall mural is a format that many artists in
India enjoy in public spaces and as private commissions from corporate
houses and private domestic residences. The scope of making a dramatic
artistic statement is unlimited as the size of the canvas is vast. From
the beginnings of the Copper Chimney restaurant series, to the huge
murals at the Lohia Bhavan in New Delhi, Daroz has repeatedly shown
his mastery over the monumental format in the ceramic medium.


























2 3

In 1972, Daroz assisted his teacher Professor K.G.Subramanyan to
make the Bangladesh terracotta mural series with slabs. This is when
he understood that one can be inspired by tradition and combines it
with contemporary concept, that an ancient, time-tested technique,
such as that of pot-making, when used in combination with a modern
sensibility, it is charged with relevance and context.

Today Daroz’s name has become synonymous with Architectural
Large-Scale Ceramic Installations in India.

The ceramic large scale wall mural is a format that many artists in
India enjoy in public spaces and as private commissions from corporate
houses and private domestic residences. The scope of making a dramatic
artistic statement is unlimited as the size of the canvas is vast. From
the beginnings of the Copper Chimney restaurant series, to the huge
murals at the Lohia Bhavan in New Delhi, Daroz has repeatedly shown
his mastery over the monumental format in the ceramic medium.


























2 3

Lohia Bhavan New Delhi
Portraits
Dr.ram Manohar Lohia, Shri Janeshwar Mishra,
Shri Badri Vishal Pitti, Shri Chandrashekhar,
Shri Mulayam Singh Yadav
2016
43 ft. ht. x 40 ft. Width
Stoneware Ceramic





























4 5

Lohia Bhavan New Delhi
Portraits
Dr.ram Manohar Lohia, Shri Janeshwar Mishra,
Shri Badri Vishal Pitti, Shri Chandrashekhar,
Shri Mulayam Singh Yadav
2016
43 ft. ht. x 40 ft. Width
Stoneware Ceramic





























4 5

Digital Works On Ceramic Tiles
2016
2’ x 2’
Stoneware Ceramic















Private residence Vadodara
2016
4’ x 7’
Stoneware Ceramic






6 7

Digital Works On Ceramic Tiles
2016
2’ x 2’
Stoneware Ceramic















Private residence Vadodara
2016
4’ x 7’
Stoneware Ceramic






6 7

As I gazed through the crystal clear shores of Diu in 2004, there emerged an enchanting
biosphere of rocks, plant and animal life. Against the rugged, bruised textures of the
rocks, the colors glistened with ephemeral and transient glow of light. Memories of
seascapes and coastal areas across the world suddenly blurred and extended the reality
of the moment into a seemingly infinite spiritual experience.

Miniaturized volcanic eruptions sucked in shallow grottoes and the grainy porosity
of surfaces reflected a palpability of life far removed from the lived in. Marking this
enduring stretch of unharnessed landscape were residual and precipitated elements in
alluring warm ranges of blue, grey and green- glistening, granular, shiny and cool.

Captured in this series of panels is the vastness of the depth and scale of this subterranean
site and the mesmerizing play of light and shadow unfolding into a breathless, immersive
experience. The gaze glides and escapes from point to point, briefly hinging on to the
dark and deep recesses of grain and texture; the deep, tranquil silences never contained
or trapped within defined form or focus. While the essence is marked by the materiality
of an unfolding, infinite vision, the presence is palpable and resonates with an inherent
life force.

That for me defines my quest and zest for life- marked by flow and continuity but
defined and refined by silences.













Hotel Surya Palace Vadodara
3’ x 9’ Ht. Each section
Total 6 Sections

8 9

As I gazed through the crystal clear shores of Diu in 2004, there emerged an enchanting
biosphere of rocks, plant and animal life. Against the rugged, bruised textures of the
rocks, the colors glistened with ephemeral and transient glow of light. Memories of
seascapes and coastal areas across the world suddenly blurred and extended the reality
of the moment into a seemingly infinite spiritual experience.

Miniaturized volcanic eruptions sucked in shallow grottoes and the grainy porosity
of surfaces reflected a palpability of life far removed from the lived in. Marking this
enduring stretch of unharnessed landscape were residual and precipitated elements in
alluring warm ranges of blue, grey and green- glistening, granular, shiny and cool.

Captured in this series of panels is the vastness of the depth and scale of this subterranean
site and the mesmerizing play of light and shadow unfolding into a breathless, immersive
experience. The gaze glides and escapes from point to point, briefly hinging on to the
dark and deep recesses of grain and texture; the deep, tranquil silences never contained
or trapped within defined form or focus. While the essence is marked by the materiality
of an unfolding, infinite vision, the presence is palpable and resonates with an inherent
life force.

That for me defines my quest and zest for life- marked by flow and continuity but
defined and refined by silences.













Hotel Surya Palace Vadodara
3’ x 9’ Ht. Each section
Total 6 Sections

8 9

2015
24” x 24” x 3”
Stoneware Ceramic

































10 11

2015
24” x 24” x 3”
Stoneware Ceramic

































10 11

2015
32” x 32” x 3”
Stoneware Ceramic

































12 13

2015
32” x 32” x 3”
Stoneware Ceramic

































12 13

2015
32” x 32” x 3”
Stoneware Ceramic

































14 15

2015
32” x 32” x 3”
Stoneware Ceramic

































14 15



The large inward looking, mask- like
faces with the Loti form eyes with
a veiled gaze recall the majestic stone-
sculpted images, vibrant with a deep
resonance the shifting profile of the
images necessitating the viewer’s
focus on a radiating pivot with a
meditative aura. While the successive
juxtapositions of repeats, contributes to
the unfolding of image through time;
A natural variance that occurs when
a simple procedure is repeated over
and over again lends itself to units that
can be dismantled or constructed to
create a new concept, this variability,
this shifting focus is in tune with the
traditional Indian worldview which is
panoramic and simultaneous.










Private Residence Vadodara
2012
12’ x 2’
Stoneware Ceramic



16 17

’



Amigo Securities Pvt. Ltd. Vadodara
2006
20’ x 40’ Ht.
Stoneware Ceramic
































20 21

Amigo Securities Pvt. Ltd. Vadodara
2006
20’ x 40’ Ht.
Stoneware Ceramic
































20 21

IFFCO Sadan New Delhi
Germination
2006
Two Walls - 15’ x 36’ Ht. Each
Earthenware Ceramic































22 23

IFFCO Sadan New Delhi
Germination
2006
Two Walls - 15’ x 36’ Ht. Each
Earthenware Ceramic































22 23

The mural commission for the Copper Chimney Restaurant chain in Mumbai,
Chennai and Muscat from 1986 onwards has faces peeping through and divided by
grill-like façade structures in doorways and windows symbolizing the human psyche as
a complex puzzle in life. Both playful and commanding, the inspiration for the murals
was from a group trip with fellow artists to Mandu. “It’s a haunting architecture, the gates
speak to you. You are looking at speaking doors with thoughts, memories and experiences...”




















ABS Tower Vadodara
2003
12’ x 14’
Stoneware Ceramic


































24 25

The mural commission for the Copper Chimney Restaurant chain in Mumbai,
Chennai and Muscat from 1986 onwards has faces peeping through and divided by
grill-like façade structures in doorways and windows symbolizing the human psyche as
a complex puzzle in life. Both playful and commanding, the inspiration for the murals
was from a group trip with fellow artists to Mandu. “It’s a haunting architecture, the gates
speak to you. You are looking at speaking doors with thoughts, memories and experiences...”




















ABS Tower Vadodara
2003
12’ x 14’
Stoneware Ceramic


































24 25

“Fortunately we have a rich tradition of
creative architecture in public spaces. The
Terracotta temples of Bengal are the biggest
example, a great inspiration, they appeared to
me as glorified containers, with demarcated
areas of specific acts. If the monuments
of Mandu were absorbed in space, these
terracotta temples created and appropriated
their own ambience. They have the strength
of giving an integrated statement of their
surroundings of social, economic or political
structures. We have to be proud of our
legacy and realize it as our departure point
in creating the modern architectural works
of art in public spaces by means of fusion
through our contemporary sensibilities”.














Gateways
Private Residence Vadodara
1999
Variable size
Stoneware Ceramic

26 27

“Fortunately we have a rich tradition of
creative architecture in public spaces. The
Terracotta temples of Bengal are the biggest
example, a great inspiration, they appeared to
me as glorified containers, with demarcated
areas of specific acts. If the monuments
of Mandu were absorbed in space, these
terracotta temples created and appropriated
their own ambience. They have the strength
of giving an integrated statement of their
surroundings of social, economic or political
structures. We have to be proud of our
legacy and realize it as our departure point
in creating the modern architectural works
of art in public spaces by means of fusion
through our contemporary sensibilities”.














Gateways
Private Residence Vadodara
1999
Variable size
Stoneware Ceramic

26 27

Sardar Patel Planetarium Vadodara
1976
9’ Dia.
Stoneware Ceramic
































28 29

Sardar Patel Planetarium Vadodara
1976
9’ Dia.
Stoneware Ceramic
































28 29

P R Daroz


Having graduated in 1968 from the College of Fine Arts and Architecture, Hyderabad
with a diploma in Applied Arts and Design in Sculpture, he went on to complete his
MFA in 1972 from the Faculty of Fine Arts, MS University Baroda with a specialization
in ceramics. Awarded the National Academy Award, amongst many others, for Ceramics
by the Lalit Kala Academy, Delhi he was an elected Member of the prestigious
International Academy of Ceramics, Geneva.

While having held over 16 solo exhibitions in India, Daroz has represented the country
in numerous group exhibitions like the 4 World Ceramic Biennale- Incheon( Korea),
th
2 Beijing Art Triennial- China, 3 World Ceramic Triennial- Zagreb (Croatia), Potters
rd
nd
Exhibition-Singapore and the OBIDOS International Biennale- Portugal. He has
participated in many international artists’ workshops and camps in diverse countries
like Mexico, Thailand, Spain, Singapore, Brunei, Istanbul, Egypt, Malaysia, Yugoslavia,
besides all over India.

Daroz’s commissions for architectural ceramics are much sought after in both the
private residences of Mumbai, Vadodara, Kolkata, Delhi, Gurgaon, Chennai, Surat,
Ahmedabad, as well as in commercial spaces like restaurant and hotels. Among the
long list of his large scale ceramic Mural, the Lohia Bhavan façade mural at Nelson
Mandela Marg, New Delhi installed in 2016. Some of his ceramic art may be admired
at Hotel Le Meridian Gurgaon and Hotel Clarence Gurgaon; Hotel Surya palace
Vadodara; Hotel Spice Island Chennai; Raheja Resort, Shalimar Hotel, Grand Hyatt
and at Copper Chimney restaurant in Mumbai; the Chopsticks Restaurant in Delhi;
Ashoka Restaurant in Nagpur; Coco Palm Restaurant at Gurgaon and the Jewel Of
India Restaurant at Manhattan, New York among others.

Corporate offices like those of Emami Ltd. Kolkata; Wadhwa Developers and Reliance
Industries Mumbai; IFFCO Sadan and Hyatt Regency Hotel, Delhi; and American
Study Centre in Gurgaon; Bayer’s Office, Transpek Industries, Sardar Patel Planetarium
and Amigo Securities in Vadodara; Hyderabad Shopping Centre; the Majorda Resort,
Goa; and the Krishna Taj Residency in Hyderabad are some that boast of Daroz’s fine
artwork.

Daroz works from his private ceramic art studio at Ayanagar near the Gurgaon/Delhi
border as well as from Thangarh in Gujarat.



Studio
Dx-63, Kendriya Vihar, Sector-56, Gurgaon 122 011
[email protected] | 9811834044
www.prdaroz.com | prdaroz.blogspot.com

30 31

P R Daroz


Having graduated in 1968 from the College of Fine Arts and Architecture, Hyderabad
with a diploma in Applied Arts and Design in Sculpture, he went on to complete his
MFA in 1972 from the Faculty of Fine Arts, MS University Baroda with a specialization
in ceramics. Awarded the National Academy Award, amongst many others, for Ceramics
by the Lalit Kala Academy, Delhi he was an elected Member of the prestigious
International Academy of Ceramics, Geneva.

While having held over 16 solo exhibitions in India, Daroz has represented the country
in numerous group exhibitions like the 4 World Ceramic Biennale- Incheon( Korea),
th
2 Beijing Art Triennial- China, 3 World Ceramic Triennial- Zagreb (Croatia), Potters
rd
nd
Exhibition-Singapore and the OBIDOS International Biennale- Portugal. He has
participated in many international artists’ workshops and camps in diverse countries
like Mexico, Thailand, Spain, Singapore, Brunei, Istanbul, Egypt, Malaysia, Yugoslavia,
besides all over India.

Daroz’s commissions for architectural ceramics are much sought after in both the
private residences of Mumbai, Vadodara, Kolkata, Delhi, Gurgaon, Chennai, Surat,
Ahmedabad, as well as in commercial spaces like restaurant and hotels. Among the
long list of his large scale ceramic Mural, the Lohia Bhavan façade mural at Nelson
Mandela Marg, New Delhi installed in 2016. Some of his ceramic art may be admired
at Hotel Le Meridian Gurgaon and Hotel Clarence Gurgaon; Hotel Surya palace
Vadodara; Hotel Spice Island Chennai; Raheja Resort, Shalimar Hotel, Grand Hyatt
and at Copper Chimney restaurant in Mumbai; the Chopsticks Restaurant in Delhi;
Ashoka Restaurant in Nagpur; Coco Palm Restaurant at Gurgaon and the Jewel Of
India Restaurant at Manhattan, New York among others.

Corporate offices like those of Emami Ltd. Kolkata; Wadhwa Developers and Reliance
Industries Mumbai; IFFCO Sadan and Hyatt Regency Hotel, Delhi; and American
Study Centre in Gurgaon; Bayer’s Office, Transpek Industries, Sardar Patel Planetarium
and Amigo Securities in Vadodara; Hyderabad Shopping Centre; the Majorda Resort,
Goa; and the Krishna Taj Residency in Hyderabad are some that boast of Daroz’s fine
artwork.

Daroz works from his private ceramic art studio at Ayanagar near the Gurgaon/Delhi
border as well as from Thangarh in Gujarat.



Studio
Dx-63, Kendriya Vihar, Sector-56, Gurgaon 122 011
[email protected] | 9811834044
www.prdaroz.com | prdaroz.blogspot.com

30 31

Private residence Delhi
2010
Variable size
Stoneware Ceramic





Catalogue © P.R. Daroz, 2017

Text:
Design:
Printed at: Archana Advertising Pvt. Ltd.
No part of this catalogue may be reproduced, stored in or introduced into a retrieval
system, or transmitted in any form or by any means (electronic, mechanical, photocopying,
recording or otherwise), without the prior written permission of both the copyright
owner and the above-mentioned publisher of this book.

32

Private residence Delhi
2010
Variable size
Stoneware Ceramic





Catalogue © P.R. Daroz, 2017

Text:
Design:
Printed at: Archana Advertising Pvt. Ltd.
No part of this catalogue may be reproduced, stored in or introduced into a retrieval
system, or transmitted in any form or by any means (electronic, mechanical, photocopying,
recording or otherwise), without the prior written permission of both the copyright
owner and the above-mentioned publisher of this book.

32

Printed at Archana, www.archanapress.com