Sculptural research and the city of The Mother

Auroville Today: We all know of Roger as Mother’s architect for Auroville. Is Roger the artist a lesser-known facet of him?

Jacqueline: It’s actually a great part of who Roger is. We titled the exhibition Roger, the Artist because Roger is renowned as an architect, especially in France and in Auroville.

We chose this title to reveal another side of him because, even before delving into architecture, Roger was always immersed in drawing and painting. Seeing his interest in painting, his mother brought in a painting teacher, to introduce him to the world of painting.

So, his artistic journey began with painting, and architecture followed. It wasn't a career choice for him initially; his true calling lay in painting, art as a whole, and the pursuit of beauty. Circumstances, particularly during the war – as he has previously recounted to us – led him to architecture. It was during those tumultuous times that he encountered someone with a studio, who, recognising his genuine aptitude for architecture, invited him with a simple, ‘come.’

In life, it's often the case that one may not initially aspire to a particular vocation, and circumstances end up guiding the way. His calling in architecture became his real and full purpose when The Mother needed an architect. She engaged him and brought him to Auroville.

Is there a difference between the two aspects of his being?

Whether you observe Roger as the artist or Roger as the architect, his architectural creations, such as the schools and the houses at Auromodѐle, exhibit a pronounced sculptural research. The entirety of Auromodѐle’s architecture is inherently sculptural. For Roger, it's all about research in the forms. In his work, even in Paris, for example, you won't find a building with a flat facade; there's always an added dimension.

When exploring his architecture, which is especially evident in projects like Auromodѐle, the artistic essence seamlessly intertwines with the structural. The exhibition aimed to emphasise the term 'artist' to unveil another facet of his persona. However, to me, Roger the artist is manifest in his architectural endeavours—it's unmistakable. In many instances, he collaborated with sculptors or fellow artists, which is evident in his buildings in Paris where entrance halls saw partnerships with decorators, consistently blending architecture with sculpture or mosaics.

Take Last School as another example, with its front statues— a sculptor was brought in. The fusion of architecture and art remains a constant theme throughout Roger’s career.

How did his contact with The Mother touch his art?

I’m unsure of the extent to which his contact with The Mother influenced his art, but I can attest that it profoundly touched his soul. Recounting his initial meeting with The Mother, he describes it as a sublime experience that irrevocably transformed his entire life. Interestingly, many are unaware that prior to encountering The Mother, Roger managed an architecture studio with a workforce of a hundred individuals, having already completed over a hundred buildings in Paris. Such details remained shrouded in silence; even I stumbled upon this revelation in Anupama's book Roger Anger: Research on Beauty Architecture 1953-2008.

During our time in Paris, Roger occasionally gestured towards a building, casually mentioning his involvement in its design. However, he never resorted to showcasing the magnificent mosaic-clad entrance halls of those structures, as for him, that belonged to the past. From the moment he met The Mother, his gaze fixated forward, focusing entirely on The Mother, her work, and the realisation of the city of The Mother. Nothing else occupied his life. Remarkably, this dedication occurred at a time when he had just completed the towers of Grenoble, then the tallest inhabited skyscrapers in Europe, earning him the International Prize for Architecture at the age of 42—an age when most architects are typically starting their careers. But upon coming to Auroville, he turned the page entirely, dedicating his life wholeheartedly to The Mother.

What was your experience being involved in this exhibition?

Collaborating on the exhibition was an enriching experience for everyone involved. The presence of Roger's art served as a unifying force, creating a harmonious atmosphere that inspired us to dedicate ourselves to all the work involved to pull off an exhibition like this, which had been spontaneously organised a few months earlier.

This allowed life to flow again through these original artistic pieces that were stored away for so many years.

The collective commitment and shared passion for the project forged strong bonds among us, making the entire endeavour not only productive but also deeply fulfilling. The total harmony between us led to the success and the beauty of the exhibition, thanks to the collective joyful participation of the whole team at the Centre d’Art.