My work bridges intuitive thoughts arising within, from deep silence, expresses it in symbols, through the experience of the relationship between inner and outer worlds, which flows into figurative, sculptural ceramic forms. The journey is finding integration, through inspirations from anatomical studies, Buddhist and Jain temple iconology, patterns in nature, engagements with traditional crafts and impressions from spiritual practices.

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Earth, water, fire, air, and space are what our universe is made of.

Quite like the mystical nature of our cycle of life, working with clay completes the cycle of life. Clay is born of mother earth and goes back to her.

My work mainly represents the living form. I like working on human and animal theme-based compositions. After learning and experimenting with all kinds of materials in my college art days, where I graduated in sculpture, I found my love and passion for clay. The love affair with clay which started more than thirty years ago is still growing stronger by the day. Working with this material keeps me grounded and sensitive; because this material demands full respect and careful handling. When it is taken care of and kept moist it can stay forever and will mature over time which makes the clay even better to work with.

Working with the medium of clay, which is the one of the five main elements of nature (earth, water, fire, air, space) I feel at one with nature. No clay work can be completed without any of these five elements. Moulding my passion in clay, mother earth gives me the opportunity to be one with her. The beauty of this material is malleable when soft but becomes hard as rock when it goes through a transformation through firing. The magical nature of this medium – clay, intrigues me. Clay is everywhere and it’s forever changing, breaking and forming. No fistful of clay is similar. I like to use and combine the pottery technique from the wheel-thrown shape and then add or alter it with the modelling technique to give shape to my sculptures. I like using stoneware clay fire to a high temperature (1280 degrees centigrade) using safe lead-free glazes.

Falguni Bhatt a Sculptor, ceramist and installation artist was born and raised in Baroda, Gujrat. With her heart set on a creative journey she completed her Bachelors in Sculpture and Masters degree in Fine Arts with specialisation in ceramic sculpture from the Maharaja Sayajirao University in Baroda in 1999. Falguni’s art is all about deconstructing stereotypes of thought and practice reflecting an intense and deeply sensitive relationship with her surroundings as well as her state of mind at any given point in time. Credited with a number of distinguished solo shows at home and abroad ( Jahangir Art Gallery , Mumbai, Hacienda Art Gallery , Mumbai and Amigos Del Nepal , Barcelona to mention a few ) and several group shows.

Falguni’s interest in handmade techniques and in trying out new concepts is reflected in her art. Her work is based on space, architectural language, organic forms and spontaneity. She enjoys working in both 2 and 3D as well as mixed media with ceramic.
As a lifelong learner, she believes that it is vital to take part in residencies, whether teaching or learning to further her knowledge and to evolve as an artist.visited International Ceramics Studio Kecskemét Hungary 2016, Fremantle Arts Centre Perth in 2018 in exchange program,invited for residency at Taoxichuan Jingderzen International studios in 2019 October-November.

She thinks of herself as “an unconventional ceramic artist, based in this wonderful city of Kolkata – ‘The City of Joy’

Mudita Bhandari’s practice is informed by the idea of space and dimension. She is interested in exploring the fluidity of various dimensions and the multiplicity of layers within the structure of existence, whether tangible or intangible, visible or invisible, known or unknown, resting in the ideas of non-dual despite the duality.
Mudita primarily works with clay but often integrates different materials to create fluidity of identity and meanings. Her practice includes teaching and writing, the interactive process of which gives another dimension to her understanding of multiplicity. Intuitive in her process she explores the form beyond the surface texture while spontaneously building them with coils. Inspired by the use of clay in the folk tradition of India, she has been working extensively with terracotta using its porous nature metaphorically as an extension to the idea of impermanence.

Ruby Jhunjhunwala is a Pune-based ceramic artist with an approach to technique that is imaginative and proficient. Ruby has created a niche for herself in the art world of earthen elements. Her art objects employ texture, shape, and colour that have developed a language which is distinctly her own.

Ruby has been working and creating with Clay for the last 40 years. Her practice has taken many turns and twists as she has evolved both as a woman and an artist. Her initial training was with masters such as the late Daniel Rhodes at Alfred in the United States, and Gurcharan Singhji of Delhi Blue Pottery.

Ruby’s ceramic and mixed media art is both monumental in scale and meditative in nature. She creates bold and fluid forms that challenges the viewer to question their definitions of one-ness.

Artist, writer and curator.

Writer’s CV reads like a travel retrospective. Wander-lust is what he says takes him across the world for invited residencies, workshops and exhibitions. Adil has a Master’s degree in architecture from the University of Houston, Texas. He worked in Bombay as an architect before reaching Golden Bridge Pottery to learn ceramics. Since 2000, he is a partner at Mandala Pottery in Auroville, striking a fine balance between making functional tableware and his own studio-ceramic work which is usually soda/wood-fired. Mandala Pottery is currently one of the forerunners of handmade, functional, wood/soda/gas-fired stoneware in India.
Writer’s ceramics and large-scale unfired clay & acrylic paintings have been showcased at several solo and group exhibitions internationally. In 2013, Writer was instrumental in arranging a residency for a group of 18 Indian ceramists to Fuping to make works for the proposed Museum of Contemporary Indian Ceramics in China. In 2018 Writer’s 20 feet long unfired clay barcode was featured at “Breaking Ground”, India’s 1st Ceramics Triennial in Jaipur.
At Shigaraki, Japan, Adil culminated his three-month invited residency with a solo titled “Himitsu-Te-Uso”, the same year his works were at three other exhibitions in Japan. Adil has featured in “Six by Six: Interpreting Craft in Gondwana”, a path-breaking Indo-Australian show at the Australian Triennial in Canberra as well as in Taiwan. This spirit of dialogue led to “In Collaboration” with celebrated artist, Laxma Goud, at the iconic Pundole’s in Mumbai.
A prolific curator, a recent curatorial collaboration has been Quartz Inversion with Janet Abrams, which showcases the works of over sixty artists working during the Covid pandemic, www.quartzinversion.com In January 2024, Writer facilitated an international exhibition, In Transit, which was a parallel show at the 2nd Indian Ceramic Triennale in New Delhi. This show featured over 60 IAC members, and we co-hosted by Gallerie Nvya.

I remember, as a child of 6 or 7, watching a village potter throw terracotta cups off a hand spun potters’ wheel. I remember fearfully crouching over the wheel, while his fingers guided mine. I remember listening to stories about the gods and of the struggle for India’s freedom. Myth and memory merged in my mother’s telling and with each retelling they became a part of my everyday acquaintance. I remember watching my mother pray in front of her small shrine in our home, and adorn the baby Krishna idol with jewellery, clothes and flowers. I remember traveling across rural India as an environmental journalist, discovering my land as a young adult.

These memories and the constant confrontation with contradiction, which is a part of everyday living in India, have an influence on my work. While the written word and ideas fascinate me, clay allows me to explore subliminal and oftentimes not easily articulated intuitions in a tactile and visual way. My “yalis”, as I refer to my figurative sculpture, begin to live for me and tell their stories in their living. Their stories reflect my search as they grapple with the modern and the ancient, the personal and the universal, the male and the female, the east and the west, the spiritual and the profane, the rational and the intuitive, the animal and the human, the religious and the secular, and the political and the nonpartisan.

My large figures with stylized human bodies and animal heads are made in paper clay. Patterns are sponged on much like a traditional textile block printer. I enjoy “dressing up” the yalis with garlands, mirrors, and ornaments used on cattle.