Upon entering the State Art Gallery in Hyderabad, a striking representation of agrarian life captivates the senses—a farmer astride a bullock cart laden with sacks of paddy. This six-foot-tall bull and twelve-foot-long bullock cart sculpture, meticulously crafted from waste materials, marks the beginning of an inspiring exhibition by Sree Harsha Katuri. Originating from Tenali in Andhra Pradesh, the artist radiates pride as he shares his vision: to encapsulate the essence of his homeland’s culture, highlighting the pivotal role of farmers and nature in our existence.
The striking installation, boasting a weight of approximately two tons created from four tons of collected scrap, is constructed from automobile wheels, gearboxes, and bicycle chains. It is a testament to Katuri’s skill, each piece meticulously arc welded from the inside. In another corner, a duo of majestic Ongolu Gitta, or Ongole bulls, appear tethered to a rock, their presence formidable and serene.
But it’s not just the rustic allure of rural life on display. Dynamic figures—an agile tiger in pursuit of a Cape buffalo, a thunderous dinosaur, a stoic rhinoceros, an imposing elephant, and a massive hippopotamus—complete the exhibition. Fashioned from fiber and standing at one-and-a-half feet tall, these animals are rendered with an antique finish, invoking a sense of a bygone era captured in time.
Sree Harsha doesn’t simply linger in the realm of traditional sculpting; he embraces the forefront of technology, merging it with his creative pursuits. His journey into the arts, fostered by his father and adept sculptor, Katuri Venkateshwar Rao, began in childhood. His passion took him through the halls of Karnataka Chitrakala Parishad, where he graduated in visual arts, always with a vision to delve into the possibilities presented by digital sculpting. Katuri wonders, “If complex automobile parts can be produced with 3D printing, why not sculptures?”
He spent two dedicated years becoming intimately familiar with the intricacies of animation, 3D modeling, and 3D printing. The technology captivated him to such an extent that he found himself endlessly toiling in isolation, much to the concern of his parents.
Katuri specializes in the initial stages of this digital craftsmanship, starting with 3D modeling software. Whether it’s Autodesk Maya, Blender, or ZBrush, he uses these potent tools to build complex and intricate models in a digital three-dimensional space. The materials utilized in the 3D printing process can vary; plastics, resin, and metals are selected based on the specific printer’s capabilities.
The transformation from a digital 3D model to a tangible artifact is orchestrated via G-code, a detailed and precise control mechanism integral to the printing process. 3D printing’s versatility makes it a formidable tool across the board, beneficial for manufacturing, prototyping, and indeed, for artistic expression. To emphasize the historical essence, Katuri finishes these fiber sculptures in metallic colors, further enhancing their vintage appeal.
Embracing the digital revolution in art, Katuri acknowledges the challenges that come with it—the extensive printing time required for each piece and the constraints of the printers’ size. His curiosity, however, remains undeterred as he contemplates venturing into conceptual works within this technological sphere.
Sree Harsha’s first solo show is one of distinction, available for public viewing at the State Art Gallery until May 13, before transitioning as part of a collaborative exhibition running until May 21. In Hyderabad’s artistic landscape, these sculptures stand testament to an infusion of legacy and innovation, signaling a new direction in the ever-evolving canvas of art.
