At the very core of my ceramic work is a vessel that has many associations including nourishment, legacy, maturity, turmoil and transformation. For the past 20-25 years these vessel forms in my work have started evolving into sculptural, hybrid, geometric, biomorphic forms. The ceramic surface remains very exiting to me and the process that happens when Clay and glazes get fired in a kiln, fascinates and challenges me.
I am drawn to the form, surface treatment, embellishment, its colour and pattern. Colour is one of the ways I communicate emotion. I have developed a strong interest in detail and minutiae. When working on a new piece, I am often responding to some emotion within. It comes out in the curves, straight lines the glazes or surfaces I apply to the piece, or I might be stimulated by one of the many clay studies, bits and pieces of inspirational detritus that accumulate on my studio shelves over time.
Sometimes it is the surrounding that motivates me. While accompanying my father Padma-shree awardee B R Pandit to the studio almost for couple of decades, closely observing his relationship with this medium, I realised I became fearless in my approach, willing to experiment almost every possibility and to at times rebel or question the set pattern or method.
As I begin working I do not have an intent or interest in reproducing or replicating anything that I see but only in abstracting and translating these stimuli and feelings into a tangible, evocative objects.