My practice of working with clay is an attempt to cope with the minor as well as major failures in life. Ceramic as a medium teaches me to look at life from a different standpoint. Failures in ceramics are inevitable, be it at an early stage while making, or while drying,glazing, or firing. Every time I open the kiln, the act is loaded with the possibility for thrill, hope, excitement, or disappointment. The material has the final say over who I am, and what I make as an artist. It can be both humbling and humiliating. 

Everything I observe and experience around me seeps into my subconscious and eventually reflects in my work. I prefer to introspect, explore and analyse myself. This gives me an understanding of the human mind—its emotions, desires and complications. I am constantly searching for a fresh perspective and prefer to have an unconventional approach towards the medium. I endeavour to create visuals that are imbued with inherent enigma and inspire viewers to interact with it:visuals begging to be explored and examined in much the same way a child investigates the world with wonder, curiosity and also trepidation. It is very important to arouse a sense of unease and encourage the viewer to consider carefully what they are seeing, and investigate why it compels them. My visuals are often disturbing, and depict unnatural, unseen or nonexistent circumstances that I see in the mind’s eye. For example— The work (Re)connecting Emotions is a narrative of emotional response and desires framed together within a boundary as an identification of the incarcerated plight that we had undergone during the pandemic.

This particular body of work in ceramic reiterates a particular form multiple times to bring out my ideas and expressions through the visual language.