Indian Ceramics Triennale 2018 — Inlaks Shivdasani Foundation Blog

This year marks the first edition of the Indian Ceramics Triennale. Entitled Breaking Ground: International Investigations in Clay, the triennale is an initiative of the Contemporary Clay Foundation and the Jawahar Kala Kendra, Jaipur. Opening on August 31st at the Jawahar Kala Kendra, the triennale aims to showcase projects in ceramics by 45 artists, both international and Indian, exploring new aesthetics, techniques and processes.

The Foundation is offering production support to young Indian ceramists, Atita Tiware, Neha Kudchadkar, Shitanshu Maurya, Triveni Prasad and Vishnu Kolleri.

Scroll down to get a sneak peak of the what you can expect from the Inlaks recipients and for more information about the Triennale.

Atita Tiware

Atita Taware creates installations, in various media such as ceramics, digital video-photography, found objects, and ephemeral artworks. Her works centre primarily on topics of biodiversity degradation, awareness of endemic and endangered species, land conversions,essence of life and self-existence.

At the upcoming triennale Atita will present her project entitled Little Wings. Little Wings is an installation about a small hope to go on, achieve goals and fulfil dreams. This work is produced in stoneware unglazed ceramics.

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Neha Kudchadkar

I see myself as a maker. Making is research, is experience, is knowing, is choreography, is a performance. In my work, I have been exploring the body as object; a tool for the making as well as the experience of objects. Through my process, and through the objects themselves I attempt to question the inherent knowledge of the body versus its social and physical conditioning. The objects tell stories of their making, stories (and secrets) of the body. The body becomes different things – it becomes land, it becomes marker, it grows, it invades, it is restrained. The body has often been likened to clay – that which has emerged from the earth and that will eventually become one with it.

Can these boundaries be erased?

Can my body become sculpture?

Ceramic Woman (Auto Ethnography Through Objects), 2015

Shitanshu Maurya

There are many aspects to everything, but we only perceive the ones which suits us and ignores rest as SCRAP. My works speak about these ignored aspects in the form of rough surfaces, textures and thoughts. My work is defined by my belief that not everything is scrap and scrap is not everything. I aim to showcase the allure scrap has.

The forms I create, are abstractions of the things around us, the good and bad. It's this good and bad that we find around us that make us think and act the way we do, both positively and negatively. I always try to reform these elements visually, making my forms, drawings and thoughts raw but but filled with positive energy.

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Triveni Prasad

I always see a story in the many aspects of nature. When I see any object it becomes a character in my thoughts, during which time I am like a protagonist. I have been interested in writing stories and poems ever since I was a little boy. I like to read between the lines and find the hidden meaning of things.

We seem to be living in an age of duality. The more tools and technologies we have at our disposal, the more self centered we become and unnatural live we lead. It is a time where material objects take precedence. My practice stems from questions about the growing divide between man's relationship and interaction with nature. Beside my pottery, my body of work tries to raise the question of humanity.

Vishnu Kolleri

Vishnu Thozhur Kolleri is an emerging artist/architect.

He will be presenting Resonance Tower Phase I an interactive installation that compiles his exploration of the resonant ceramic voids, something he has been developing over the last five years. It is designed to amplify the subtle sounds produced by the movement of the visitor, enabling an experience of sonic representations of her/his body movements.

Visitors are invited to embark on a haptic journey of self-discovery by playing the instruments present, and sharing the output with a fluid audience. The installation encrypts one’s movements and bodily rhythms into a sonic dialogue. The entire process offers the possibility of experiencing the self through abstract yet perceptible auditory representations. While the work accommodates multiple performers, one of the devices transmits the artist’s own pre-recorded interactions in a loop. As the artwork comes alive with the participation of the audience, interacting individuals become performers, integral to the work. The installation thereby reactivates our remote, primal connections with our surroundings through sensorial engagement.