Kalyan S. Rathore, an industrial designer turned globally recognised sculptor and Guinness World Record holder, blends geometry, science and art into public sculptures that speak to the childlike wonder in people. From airports to railway stations, his works use nature as a classroom, emphasising craftsmanship, mathematical precision and emotional resonance over fleeting conceptual gimmicks.
“I am proud of my work that engages a child or the child in a person.”
He considers his work truly exceptional when it resonates with a child, reflecting a purity of thought untouched by preconceived notion.
From industrial designer to internationally acclaimed contemporary sculptor, TEDx speaker, educator, and Guinness World Record holder, Mr. Kalyan S. Rathore has forged an exceptional career. He describes his journey as one of self-discovery and about unravelling the challenges of finding an expression and building a body of work. Many told him that the artistic process was innate—something that could not be fully captured on paper—but he was bent on recognising his distinctive style, one that felt authentic and served as a true extension of his identity and creative vision.
Mr. Rathore transforms complex geometric principles and patterns into striking visual narratives. Rooted in the intersection of art, mathematics, science, and design, his creative process is inherently fluid. He uses nature not merely as inspiration but a classroom. He believes that while there is a place for conceptual ‘Banana strapped to the wall’ art and ‘half shredded drawings,’ it is skill, craftsmanship, and meaningful intent that become part of history. His work is shaped by a natural attraction to geometry, something he describes as a “geometric predisposition.”
His prominent public artworks may be spotted at airports, railway station, hospitality spaces, and urban landmarks. To name a few, Efflorescence at Bengaluru Airport, the monumental Squirrel sculpture at Ayodhya Dham Railway Station, Jagannath in Coorg, Hanuman in Bengaluru, Harmony in Pune, the iconic Peacock at Kochi Airport, Tensigrity in Bengaluru, Kalash in Mumbai, Cosmic Tapestry at JW Marriott Tirupati, and the striking Hyderabad Towers in Hyderabad.
Robb Report India spoke to him about his artistic journey that culminated in the Guinness world record, and more.
Kalyan S. Rathore (KR): The boundaries between art and science have an amazing quality of being dual; duality is a reality when it comes to quantum physics. To reconcile a nurture the duality is a sweet spot to hit.
That said, science teaches us rules and principles, while art has liberty; the artist has liberty to use these rules and interpret at will. I would like to say that my art happens because of my strength in science: the principles of surface tension, efficiency in nature, growth by design and structure, all are common to the world of sculpting because you are seeking to resonate with a human.
KR: The artists of today are at the cusp of the digital and AI revolution. Perhaps a hundred years from now we would be celebrated as the avant-gardes who used the best of both worlds. It is this opportunity that opens new arenas disguised as challenges, so it is best to embrace the moment and write history. Easier said than done! Nonetheless, the hands that know how to use a tool are more valuable than the tool itself. Digital and AI are tools that are no different. Did we lose the ability to walk when a bicycle was invented? That is a flippant way of seeing things.
KR: This opportunity came by chance through a global Accenture project that had collected more than 200,000 employee photographs. The initial idea was to create a large photo collage and attempt a Guinness World Record, but I felt that would be too predictable. Instead, I suggested building a sculpture entirely from printed photographs. The idea was appreciated, and Guinness World Records even created a new category for it: “The World's Tallest Photograph Sculpture.” Inspired by the strength and efficiency of the honeycomb, I designed a system where photographs could be folded and interlocked to create a freestanding structure. With the help of my team, we built the sculpture and successfully achieved the world record.
KR: Growing up in the late 70s and 80s my exposure to television and internet was nil. This means I earned my own fun through creativity. The child under such circumstances becomes primed to create with hands whatever one wished. In my suburban home the only exposure was ants, dragonfly butterfly and the occasional glowworms. I’d take every opportunity to study dead ants under the lens. Be in awe of their shapes and patterns, same with a leaf or a shell. With my father being an aeronautical designer, I quickly discovered that design was a common language between us. Our conversations often revolved around design—sometimes in the context of aeronautics and at other times in relation to everyday ideas and observations.
This meant we had a good conversation about design and physics. Although at that time it was without terminology and heavy concepts. Toys were rare and far between. The only toy that I’d get with regularity was along with the tooth paste ‘Bianca.’ In its cardboard was a surprise animal toy. A rubbery plastic miniature animal that came every time gave me my collection of elephant, a bear, a tiger etc.
Mind you all the animals were of the same size though. So, an elephant was as tall as a tiger in my little zoo. I knew that was wrong but I don't mind it so much. I really wish the makers had indulged more to make the left and right asymmetrical to make it seem more realistic. These appeared to stand in attention and symmetrical no head movement no leg positions that depicted walking. So, I found out why these limitations were there. My father told me it was for ease of making and removal from the mould. Undeterred, I came up with a brainwave. If I can make a pattern in candle wax by using one of the animals as a positive, make a cavity in ‘chapati’ dough then I would have a wax version of the animal. Now by heating the wax version, I can manipulate the position of the legs and head. It worked only to some extent. But it was a project for the future.
Back to the present day, when I got an opportunity to pitch a sculpture for Ayodhya Dham railway station, I gravitated towards the unsung hero of the Ramayan. The squirrel’s dedication despite its size was the theme I chose. A contemporary abstract version of the squirrel that I proposed was liked and chosen to be made as a 15-foot-tall sculpture. That is the story of Animals.
KR: The choice of material is a result of many processes. The character of the material, how it lends to the manufacturing method — its significance and symbolism.
Stainless steel for me is the material of choice. When the sculpture is heavy on the defined geometry, the material has the ability to scream or to be silent while participating in the sculpture. It’s always a journey to discover and there are no thumb rules, it’s an exercise in balancing objectivity and subjectivity. As an industrial design professional I believe in design and depend less on letting the material define a form.
KR: I would choose the open spaces in our nation’s new Parliament. They are a metaphorical ode to Bharat as an ancient land and to our potential to herald a new era. It may sound a bit heavy and hackneyed, but I see the potential for these spaces to hold civilisational relevance, going beyond the mundane politics of immediate necessities.