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L: Recollection of a Manuscript, 2018; R: Xing? Look Both Ways, 2018

L:Partha Dasgupta states “Recollection of a Manuscript is a simple mathematical expression of vertical and horizontal planes.”; R: Sharbani Das Gupta, inspired by the dual nature of curiosity and wariness between two neighbouring countries, made her think of a wall of eyes that both revealed and obscured.

Somethingpolis, 2018

Neha Kudchadkar investigates the hidden energies that give shape to conceptual edifices like a city.

Untitled, 2018

Madhvi Subrahmanian continues her reflection on the fluid interconnectedness of nature and urban culture.

Shadow Crossing, 2018

To Aarti, the threshold framed by a doorway, "represents an interstice, a pause - a moment of stillness, holding within it the certainty of passage, the potential for transformation, epiphany, resurrection or dissolution”.

Weathered rock after the rain, 2018

An exploration of the subject of Volcanic eruptions, embedded fossilised forms, thawed surfaces create an enhanced haptic landscape seen from a bird’s eye view.

Nature’s Signature, 2018

Vipul Kumar’s large porous asymmetrical sculptures resemble an ancient monument with its worn exterior.

Longing for Tomorrow, 2018

Thukral and Tagra’s recent work deals with interpretations of Indian mythology and symbols in ways that renew and enliven the static field of cultural material.

Self Portrait Plates, 2018

Ramesh Mario Nithiyendran creates rough-edged, vibrant, new-age idols that are at once enticing and disquieting.

Blossoming - Being all of them She stands there , 2018

This sculpture, crafted from eight fibre glass discs and covered with more than 3,000 ceramic flowers and tesserae, draws her inspiration from Thiruvaimozhi, a collection of Tamil hymns.

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News 23 Oct 2018

Indian Ceramics Triennale – Breaking Ground is the exhibition aspiring to change the conversation surrounding clay work

Despite pottery and artisanal clay craft work being an integral part of Indian craft culture, there hasn't been a globally recognised showcase for ceramic art and artists in the Country. The ambitious Indian Ceramics Triennale, hosted by Jawahar Kala Kendra and the Contemporary Clay Foundation, intends to change that. Over the years, the ceramic art scene has grown in significance and versatility both within India and abroad. The triennale was launched to meet the needs of the expanding artform. It provides contemporary artists with a platform while also exploring ceramic specific concepts and elements through installations, interactions and performances.

Indian Ceramics Triennale: Breaking Ground is currently seeing national and international artists, selected through an open call, contribute to the rebranding of ceramics in India from a commercial practice to an art-form. Peter Nagy, Director of Nature Morte gallery and advisor for Breaking Ground states, “Long relegated to the status of second-class citizen in the world of art, in the 21st Century ceramics have taken on a renewed urgency and relevance in international contemporary artistic practice. Primordial and ubiquitous; earth, dirt and clay speak to the very core of our beings and can spark our most fundamental creative energies. The Indian Ceramics Triennale will highlight the finest practitioners of experimental ceramics working today, those who are expanding our conceptions of an ancient medium, claiming its place in the future”.

L: Recollection of a Manuscript, 2018; R: Xing? Look Both Ways, 2018

L:Partha Dasgupta states “Recollection of a Manuscript is a simple mathematical expression of vertical and horizontal planes.”; R: Sharbani Das Gupta, inspired by the dual nature of curiosity and wariness between two neighbouring countries, made her think of a wall of eyes that both revealed and obscured.

“Masterclasses by celebrated artists for adults were also held during the triennale with more coming up throughout the duration of the exhibition.”

The triennale is being held in the Jawahar Kala Kendra culture center in Jaipur, which is renowned for being a paragon of architectural design and symmetry. Quoting Pooja Sood, Director General, Jawahar Kala Kendra, "Jawahar Kala Kendra is excited to be pioneering India's first ever Ceramics Triennale. From a historical perspective, there has been a major turn in the field of ceramics worldwide. In a country like India where ceramics and clay have always been considered as artisanal craft, the Ceramics Triennale will increase visibility and allow ceramics to be appreciated as an art form in its own right".

This year’s edition (running from August 31st to November 18th, 2018) is the event's first and was conceived by members of the Contemporary Clay Foundation and ceramic artists Madhvi Subrahmanian, Reyaz Badaruddin, Neha Kudchadkar, Sharbani Das Gupta, Anjani Khanna and Vineet Kacker.

Somethingpolis, 2018

Neha Kudchadkar investigates the hidden energies that give shape to conceptual edifices like a city.

Untitled, 2018

Madhvi Subrahmanian continues her reflection on the fluid interconnectedness of nature and urban culture.

Shadow Crossing, 2018

To Aarti, the threshold framed by a doorway, "represents an interstice, a pause - a moment of stillness, holding within it the certainty of passage, the potential for transformation, epiphany, resurrection or dissolution”.

Breaking Ground: The Experience

The artists displaying their work include Aarti Vir, Adil Writer, Danijela Pivaševic-Tenner, Antra Sinha, Kate Malone, P R Daroz and Shalini Dam among many others. In addition to showcasing artist's works, the Indian Ceramics Triennale will also played host to lectures on noteworthy developments in the ceramic art landscape such as design trends, the role of technology in the practice and driving socio-political themes and concepts. Breaking Ground has also partnered with the Akshara Foundation of Arts and Learning (AFAL) to introduce ceramic art to newer audiences.

Weathered rock after the rain, 2018

An exploration of the subject of Volcanic eruptions, embedded fossilised forms, thawed surfaces create an enhanced haptic landscape seen from a bird’s eye view.

Nature’s Signature, 2018

Vipul Kumar’s large porous asymmetrical sculptures resemble an ancient monument with its worn exterior.

Longing for Tomorrow, 2018

Thukral and Tagra’s recent work deals with interpretations of Indian mythology and symbols in ways that renew and enliven the static field of cultural material.

Through the school programme "Arts for All at Breaking Ground", AFAL has proposed a series of artist run workshops for under-serviced children from local schools. The organisation has also invited these local children to visit the exhibition and try their hand at sculpture in the event's "Clay Room". Masterclasses by celebrated artists for adults were also held during the triennale with more coming up throughout the duration of the exhibition.

Self Portrait Plates, 2018

Ramesh Mario Nithiyendran creates rough-edged, vibrant, new-age idols that are at once enticing and disquieting.

Blossoming - Being all of them She stands there , 2018

This sculpture, crafted from eight fibre glass discs and covered with more than 3,000 ceramic flowers and tesserae, draws her inspiration from Thiruvaimozhi, a collection of Tamil hymns.

This introductory edition of the Indian Ceramics Triennale is a large step in commencing the change in perception and conversation surrounding clay work. The event has set the foundation to maintain a three year art cycle that continues to highlight the art, artists and the genre as a whole.

For more on the Indian Ceramics Triennale, you can visit their website.