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Tucked in a corner of Ittamadu in South Bengaluru, senior sculptor Venkatachalapathi’s workspace is much more than just a studio — it is indeed a museum of sorts. Many small, medium-sized and larger-than-life busts and statues of artists, writers, mystics, politicians and public figures jostle for space and attention. Layers of dust of varying shades and depths do not diminish the scale or substance of the sculptures; if anything, they help in transporting the viewer to a magical world of a bygone era.
Standing tall among other striking figures is Reverend Ferdinand Kittel (1832 –1903), the Lutheran priest and Indologist who compiled the first Kannada-to-English dictionary way back in 1894. The monumental 1,758-paged lexicon originally written with a feather and ink encompassed 70,000 words. Among others, the German-born missionary also authored ‘A Grammar of the Kannada Language in English’ in 1903.
“It was a great challenge and equally fulfilling experience to create the seven-foot bronze sculpture of Rev Kittel,” recalls Chalapathi. “I first made a one-foot key maquette which was approved by a committee headed by noted poet-educator Dr G S Shivarudrappa. Before making the full-scale sculpture, we procured the original gown worn by Kittel from Mangaluru. We then requested the principal of Bishop Cotton’s School to wear Kittel’s gown and pose for a photograph. That picture was crucial for constructing a clay model which was then cast in bronze in this very studio employing the no-bake sand casting process. Later, I made the same statue for the Kittel College in Dharwad.”
Humble beginnings
Venkatachalapathi turned 75 this February. Recently the exceptionally skilled sculptor whose career has spanned over four decades released his autobiography in Kannada titled ‘Nanna Jeevana Shilpa.’ A pictorial delight, the self-published tome navigates through many rough, bumpy, as well as lively and incredible paths of his fascinating life. Chalapathi’s sculptural pieces (many of whose images the book contains) bear a distinctly personal stamp. One sees how his dextrous hands are at ease in handling both conventional and contemporary subjects. While his statues seek to grasp the model’s physical and psychological features, the modern pieces search for dynamic sensations in abstract forms. Besides technical finesse, Chalapathi’s works reveal a rare vigour and sparkle by combining traditional and modern sensibilities in a richly rooted individual aesthetic. “Venkatachalapathi is the epitome of Kannada contemporary sculptural practice,” says art critic K V Subramanyam. “His art is pioneering and personal. It is characterised by tremendous energy… His work is an affirmation of his zest for life.”
Born in 1948 in Devanahalli to a family of agriculturists, Chalapathi showed interest in arts at a very young age. He was drawn to the power and poise of handcrafted sculptures of A C Hanumanth Acharya, a renowned sculptor. The period of apprenticeship at Acharya’s workshop, and the encouragement received from his master are still fresh in his mind.
Chalapathi’s move to Bengaluru occurred in rather dramatic circumstances. “It was painter BKS Varma who encouraged me to enrol myself in the Kalamandir School of Art in Bengaluru run by well-known artist and teacher A N Subba Rao. So, when I failed my SSLC examination, I ran away from home and came here. The bus ticket was bought with the money meant to pay the fees for the supplementary examination! I clearly remember my arrival at Kalasipalya bus stand: 3.30 pm, 23 October 1966… Subba Rao was a very generous mentor. He not only accepted a rank outsider like me with open arms but also helped me hone my artistic skills besides giving me a place to stay.” It is no surprise that Chalapathi has dedicated his autobiography to his gurus A C H Acharya and A N Subba Rao.
Rise in stature
To sustain himself financially, Chalapathi joined the Visvesvaraya Industrial and Technological Museum in Bangalore (VITM) as a daily wager in 1967; his appointment was regularised in 1970. The then exhibition officer of VITM, Amit Sarkar and senior artist L P Anchan nurtured his talent and exposed him to a variety of projects and technical processes. Chalapathi functioned zealously and refined his craft working with diverse materials, techniques and processes. Unfortunately, his long association with VITM ended in October 1999 on a rather unsavoury note. Even while working in VITM, he had, during his spare time, vigorously pursued his personal art practice. Demand for his sculptures and statues by public and private enterprises steadily rose after his retirement. Among the dozens of major works he created, Chalapathi counts the statues of Kittel and 16th-century Kannada poet and philosopher, Sarvajña to be closest to his heart.
Through sheer hard work backed by a spirit of experimentation and thirst for new technical processes, Chalapathi became one of the most sought-after sculptors of Karnataka. With his friendly conduct and easy accessibility, he became a go-to artist for a wide spectrum of business houses, social groups, and cultural organisations. He travelled across the country participating in sculpture camps, exhibitions, and other events. Many awards and accolades came his way. “1996 was a very special year for me. My work titled ‘Sculpture-95’ received the National Award. It was displayed in the national exhibition and later acquired by Central Lalitkala Academi.” He became the Chairman of Karnataka Shilpakala Academi and successfully completed a three-year term (2005-08).
Chalapathi’s life is a striking example of how an artist with humble means could scale great heights against incredible odds. So, whenever one passes M G Road in Bengaluru it would be nice to look up at the Kittel statue installed in the park near Mayo Hall to pay silent homage to the legendary lexicographer who dedicated 24 long years to the Kannada-English dictionary. One ought to also be thankful to Chalapathi whose majestic sculpture keeps the memory of the Reverend alive.