“We manifested this,” proclaims Vineet Kacker, an architect-turned-artist and one of the six visionaries behind the Indian Ceramics Triennale, which launches its anticipated second edition at the newly inaugurated Arthshila gallery in Okhla, New Delhi. Joined by Anjani Khanna, Madhvi Subrahmanian, Neha Kudchadkar, Reyaz Badaruddin, and Sharbani Das Gupta—all practicing ceramists and co-founders—the event is celebrated as a passion-fueled endeavor primarily intended to put ceramics, or more precisely, clay, in the spotlight.
Named Common Ground, the triennale’s chosen theme resonates with the convergence of over 34 potent art installations by upward of 60 artists from a dozen nations across the globe. The artist entries, meticulously curated via an open call, present an array of critical social and political viewpoints while remaining inherently united through the medium of clay. The overarching goal of the triennale is to subvert the traditional notions associated with ceramics, elevating it beyond mere utilitarian or ornamental purposes and into a deserving artistic limelight.
Bearing witness to this artistic renaissance are individuals whose works range from classic to contemporary ceramists and those who blur the lines of artistic disciplines, dabbling in performance, sound, and even Virtual Reality (VR)—all under the cohesive theme of clay.
The triennale intricately weaves tradition, often relegated to functional roles, into its rich tapestry through various exhibits. National award-winner Om Prakash Galav from Alwar gives a modern spin to traditional terracotta, invoking the philosophical dimensions of Shunya (the concept of nothingness) as his artworks progressively diminish in size, begging a closer look, perhaps with a magnifying lens, to truly appreciate the craft.
Kumbhar Ismail Hussain, an artisan from the Lodia district of Gujarat, and his family reintroduce ancient Kutch pottery and paintings, reflecting facets of their daily lives. Adding to the international flavor, Australian indigenous artists Hayley Coulthard and Rona Rubuntja infuse charm into their creations with landscapes from their native Hermannsburg and embellishments of miniature human and animal figures.
Cross-cultural collaborations have surged within the triennale, exemplified by the striking ‘Lost and Found’ installation. Potters Lota Ismailbhai Husen, Kumbhar Alimamad Dhavad from Kutch, and Santosh and Rakhi Warekar from the Warak Cluster in Jaipur worked hand-in-hand with curators from Creative Dignity to craft an arrangement of traditional lotas (pots) as an ode to commonplace Indian vessels and the communities that craft them.
Another captivating alliance involves Ugandan artist Lilian Nabulime and British artist Andrew Burton collaborating with the women of Mandi Village in an engaging endeavor, constructing installations with clay and cow dung. This partnership draws a parallel to the cow dung cakes traditionally used as fuel in rural and urban Indian households.
Amidst a digital evolution, the artists at the triennale stress the vitality of embracing handmade art. “As the borders between artistic realms become more fluid, clay serves as a nexus, enabling a confluence of artists, designers, and innovators to explore inventive expressions,” comments Subrahmanian, whose own work spans diverse artistic practices.
The exhibited art confronts a range of themes; from political commentary to environmental activism, personal narratives to collective experiences. While some artists like Birender Kumar Yadav and Asish Choudhury pay tribute to India’s unseen brickmakers, others integrate novel approaches like Munich-based Yulia Repina who utilizes VR for an interactive display of ceramic busts laden with hidden emotions.
As the triennale ventures into different expressions of clay, Tel Aviv-based Roy Mayaan and Erez Mayaan (the Mayaan brothers) address familial ties through their playful ceramic ball game. Additionally, the British duo Copper Sounds experiment with sound, crafting and performing with clay-based sonic instruments.
Over the decades, Indian ceramics have grown in prominence, with galleries, art fairs, and museums worldwide showcasing the medium’s commercial and aesthetic promise. “Clay is an ancient form of expression, ubiquitous in global ceramic cultures, yet Indian ceramists now relish a newfound international acclaim,” Subrahmanian reflects on the rich intercultural dialogue influencing the craft’s evolution.
With pride, co-founder Kacker emphasizes their unique selection process, which is based on an open call welcoming diverse backgrounds and experiences aligned with the triennial’s curatorial theme. This intentional inclusivity has unveiled an untapped wealth of creative ceramic practices.
The Indian Ceramics Triennale runs from January 19 to March 31, offering an immersive journey into the boundless world of ceramics, and underscoring the material’s universal relevance from its storied past to its vibrant present.
This deep-dive into the ceramics realm has been reported by a dedicated culture writer and editor, specialising in the realms of art, design, and architecture.
