More than three decades of working with clay have shaped Keshari Nandan’s distinctive ceramic practice, where functional pottery, architectural ceramics and contemporary sculpture come together. His latest exhibition, FIRE & FORM, curated by Uma Nair, brought together more than 30 recent stoneware works, offering a glimpse into an artistic journey shaped as much by clay and fire as by the artist’s imagination.Working from his atelier in Bhainslana, in Rajasthan’s Jaipur district, Keshari has developed an integrated practice that moves seamlessly between vessels, architectural works and sculptural forms. For him, the process of making — from preparing clay bodies and developing mineral glazes to constructing kilns and directing atmospheric firings — is as important as the finished work.
Keshari Nandan with Ankon Mitra and Uma Nair
The kiln, in particular, plays the role of an active collaborator, with clay, minerals and fire influencing the final form. The exhibition presents vessels, platters, sculptural works and a monumental stoneware piece inspired by Rajasthan’s landscapes, textures and cultural memory. Together, they reveal a practice in which utility and sculpture remain in constant dialogue.The late sculptor Himmat Shah was among those who admired Keshari’s work. “Keshari was my favourite ceramic artist because he was not only deeply humble but also hugely talented, and his ceramics completely refused categorisation,” he had said.Shah’s observation reflected his appreciation of an artist who brought together sculptural imagination and a deep understanding of clay, material and fire.Reflecting on his practice, Keshari said, “I have worked with clay for more than thirty-five years, and I still learn something from every firing. For me, ceramics is a complete process. Preparing the clay, building the form, developing the glaze and working with the kiln are all part of the same practice. Whether I am making a vessel for daily use or a large sculpture, I begin with the same respect for the material.”Curator Uma Nair wrote, “Keshari’s works possess an extraordinary material intelligence. They move effortlessly between monumentality and intimacy, carrying within them the rhythms of the earth, the architecture of fire and the quiet resilience of handmade form. His practice reminds us that ceramics is not simply about shaping clay; it is about understanding transformation through material, process and time.”
Aman Nath and Tarun Khanna
Aman Nath, who was present at the preview, said, “Those who take on the process of the kiln, take on the cosmic metamorphosis through which our very Earth was made. Mother Earth. Isn’t that why the wisdom of our forefathers named the Potter the Prajapati — the Creator himself? Keshari Nandan understands his clay and fire and can control its creative process. His Mother Goddesses are as Harappan or Mesopotamian as they are heaved out of the crinkle and tear of contemporary times. I can imagine Pablo Picasso standing in awe before the nine circular plates and bowing before our saffron Master.”
