SPOTLIGHT ON: Kritika Soni
Image courtesy: Kritika Soni
As I waited for a friend at the Triveni Kala Sangam about a fortnight ago, it was purely by chance that I sauntered into an exhibition, titled 'Yuva Sambhav', then running at the venue's Shridharani Gallery. Organised by The Raza Foundation, it featured works by 12 young ceramic artists, specially chosen and curated by eminent ceramicist P R Daroz.
To use a cliché, it was a stunning revelation.
The exhibition showcased the very latest trends in the genre of ceramic arts. This is a genre that finds itself almost always overshadowed by the world of paintings, and to a small extent, of sculptures, and therefore, a complete exhibition dedicated to it was refreshing.
It would be a disservice to the complex and labour-intensive genre of ceramics to immediately associate it with fine tableware, or perhaps, innovative, modern décor. It is as much a discipline of visual arts as painting and sculpture yet lingers on the sidelines as there are very few galleries dedicated to promoting it. The most notable exception is the Indian Ceramics Triennale, whose second edition was held in New Delhi from January 19 to March 31 this year.
As I walked through the exhibition slowly, gradually absorbing the cutting-edge work being done by contemporary artists in clay, I was overwhelmed by the sheer breadth of creativity on display, I wanted to know more about the artists and their practice. As I was instantly arrested by the works of Kritika Soni, I reached out to her for a detailed chat about her art. Here's what the New Delhi-based artist, who has a brand of handmade ceramic wall installation art called Kara Sabi, shared with me.
What is it about ceramics that drew you to the medium in the first place?
You are right... there is something about ceramics that drew me to this medium even though I wasn't trained to be a ceramicist. I studied textile design, first at Srishti Manipal Institute of Art, Design and Technology, Bangalore (2007-2011), and then at Chelsea College of Arts, London (2011-2013). Upon completing my education, I was working in the textile industry. But clay always appealed to me. So, it's a classic case of us planning something but destiny has something else in mind for us. I gave up working in textiles and switched to clay in 2016. But none of this was planned. There was nothing like 'I have to'. When I look back, I remember it as a moment of intuitive flow.
So, that explains the little, textured details like a printed cloth on your works at the exhibition organised by The Raza Foundation...
Yes, that's true. No education ever goes to waste. As I have a background in textiles, it keeps appearing in some form or the other in my ceramic works. I have always appreciated tactile mediums as it also gives the artist more opportunity to explore and experiment, and ceramic allows that.
Details from Kritika Soni's works, from the set titled 'Broken and Beautiful', a set of 15 wall vessels, stoneware, 60 X 40 in., 2024
As a full-time practicing ceramicist, what would you say about the opportunities in the field dominated by paintings?
I have to say that I'm very new to the field — practicing for the past 6-7 years only — so my opinion would be that of a newbie. Having said that, I would add that the field is in transition. Ceramic art is very old, dating back to ancient times. Perhaps, because of its utility value over centuries, it came to be regarded as a craft. That continues to be the popular opinion about ceramics in India even though perceptions are changing, especially in bigger cities; my maximum orders are from Mumbai and Hyderabad. People are beginning to appreciate it for the art that it is. The mind shift is taking place.
How would you describe the ceramics scene today?
I think the newer generation of ceramic artists is highly experimental, as you must have realised in the exhibition. I know quite a few artists who are not formally trained in this medium. Lack of training, actually, works as an advantage for us as we do not know any rules to be able to break them! There are benefits of setting one's limits as you haven't been taught any!
That is why, exhibitions such as this one are a great opportunity. There are not very many platforms dedicated to ceramics, so when a prestigious foundation hosts an exhibition only for ceramics, it is a great honour.
Any ceramic artists whose works you follow or look up to?
I prefer experimental work and therefore, some artists with whose works my aesthetic sensibility can relate to include P R Daroz [the curator of the 'Yuva Sambhav' show], Vinod Daroz, and Vineet Kacker, to name a few. It is exciting to be able to understand that each one has their own distinct way of expressing themselves through the same lump of clay.
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