Do you think through the figure of the, sorry, the... through the figure of the vernacular artist you found something more primal in your own language?

That’s right, yes, and then I also found that there are various things, various ways that do and don’t. Now, each kind of practice probably has a little grammar within it which helps it. Even when one practice goes to help another, then it creates a certain kind of, let us say, a sort of a bridge from one grammar to another, this kind of thing. That has been very interesting for me to do, and in fact when I started doing these terracottas, or when I started also doing some tapestries, though I haven’t done too many tapestries, just I started it off here, but then here terracottas and fibre sculpture, there are various possibilities here, and terracotta using clay as something which has its own kind of language. That I could see that this was there in certain of the objects, the primitive cultures used, or you could see that kind of a language in the Mohenjo-daro terra cottas and things of that kind. They continue till a certain time then they disappear, then the surface finish becomes more important than this kind of manipulation of the essential metrics. So all this has helped me a little to sort of change my perspectives while doing these things, but I know, I mean these are all side things, but then they help you to visualise things a little better and better.