At the heart of India’s history lies clay: the medium of the humble potter, the anchor of civilizations, and the symbol of both creativity and caste. Ceramic artist Sandeep Manchekar’s exhibition, माटी कहेक कुम्हार से (The Dialogue), on view at the Nine Fish Art Gallery in Mumbai till February 4, 2025, delves into the intricate relationship between this elemental material, identity and societal structure. Presented in collaboration with the Dot Line Space Art Foundation, the exhibition weaves clay’s physical malleability with its metaphorical capacity to question, celebrate and critique.
Manchekar’s works explore clay not merely as a material but as a medium that holds the memories of a community. His monumental installation, हम कुम्हार (We, the Potters), lies at the exhibition’s core. Ten life-size pots crafted from diverse soils and mounted on a traditional bullock cart narrate the shared yet divided heritage of India’s potter communities. “The textures and colours of the pots evoke the deep scars of caste hierarchies, while their collective placement suggests the unity of shared labour and history,” says the artist.
The exhibition is segmented into six thematic sections, each showcasing Manchekar’s interplay of technique, narrative and philosophical inquiry. 'Clay Is Culture' bridges the past and present, showing how clay moulds cultural memory. The layered surfaces and organic forms in this series remind us that culture, like clay, is continuously shaped, fired and reimagined. In 'Temporal Resonance,' Manchekar uses ash pit-fired pots to reflect on the duality of time. Meanwhile, 'The Abstract (Luster)' pushes the boundaries of materiality with metallic glazes that turn simple clay into futuristic, reflective canvases of light and shadow.
But it is हम कुम्हार that truly anchors the exhibition’s profound themes. Here, Manchekar delves into the potter’s dual legacy: as a symbol of creativity and as a marker of caste identity. The pots represent the diversity of India’s potter communities. “The bullock cart, carrying these symbols of labour and heritage, becomes a stark reminder of the divisions that persist,” says Manchekar.
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