I studied architecture at CEPT in Ahmedabad, where I learned to see form, space, and structure in everything around me. Later, I found clay or maybe it found me. It felt more direct, more alive.
In 2019, I moved to Auroville. I’ve been working at Mandala Pottery in Tamil Nadu, in the production line and also creating art installations. It’s a place where I get to experiment. Nature, fire, and community shape everything here.
I work with clay almost like it’s fabric. I fold it, stretch it, let it settle into shapes that feel like they’re just about to move. I’m especially drawn to Nerikomi layering colored or different types of clay bodies. It’s kind of like weaving, but with earth instead of thread. Some of these pieces are remarkably fragile, featuring intricate, detailed patterns. I usually fire those in electric or gas kilns (oxidation firing) for a clean look, using minimal glaze.
Then there’s the other side of my work, the bold pieces, the ones I fire with wood firing or soda firing (reduction firing). I let the fire take over there. The ash, the flame they change everything. I don’t try to control it too much.
I like working both ways—careful and wild. It helps me think in different directions and keeps the process fresh. Even though the techniques vary, I’m always chasing the same thing: a sense of movement. Like the clay is caught mid-motion, just for a second, before it comes to rest.
