Materials carry a malleability and mouldability mind of their own.

Metals emerge harder, once they pass through the furnace. Porcelain, by contrast, is at its most fragile once it emerges from the kiln.

True transformation is not imposed. It is revealed in its becoming. Just like us humans, shaped by experience and circumstance into soft-solid beings.

Lao tzu, the ancient Chinese Taoist philosopher, brings forth the “wu wei” - literally “doing not doing”.

An artist enters a present state of awareness, a dwelling within the body, where the right strokes and movement arise effortlessly, without interference.

This is the immanence–not a force applied from the outside but a flow that was already within.

“The game plays the game; the poem writes the poem; we can't tell the dancer from the dance”. (1*refer the book)

Such is the practice of self-taught ceramist Sukanjana Kanjanabat's. An architect by training, she resonated with simplicity, structure and

the quiet attention to material. Her inclination towards experimentation with handheld multi-materials and repetition led her to her craft-a sensibility perhaps inherited as much as learned.

This series Threaded into Porcelain, emerges from her maternal seamstress legacy–amalgamating sewing, textile and ceramics, through repetition and experiment,

in a way that each material vanishes as a separate and transforms into the underlying oneness.

Through this quiet dialogue between her past and present, she has created an embodiment of work that is truly, and only hers-where immanence and oneness are not mere ideas but an object you can hold in your hand.

 

Curatorial Statement : Miita Thakral

1*Tao Te Ching, by Stephen Mitchell, HarperCollins Publisher,1988