Assembling California: Post-fire Yosemite, 2020, clay, underglaze, glaze, and paint, 58.5 x 53 x 43 cm. Photo by Joe McDonald / Shoshana Wayne Gallery 
Assembling California: Kincade Fire, 2020, clay, underglaze, glaze, and paint, 58.5 x 51 x 38 cm. Photo by Joe McDonald / Shoshana Wayne Gallery 
Assembling California: Earthquake Trail, 2020, clay, underglaze, glaze, feldspar and paint, 56 x 48 x 33 cm. Photo by Joe McDonald / Shoshana Wayne Gallery 
Assembling California: Sky Trail, 2019, clay, underglaze, glaze, thread, feldspar and lace lichen, 56 x 45.5 x 33 cm. Photo by Joe McDonald / Shoshana Wayne Gallery 
Self Portrait as Kali, 2020, clay, glaze, gold leaf and swatch of unstitched silk sari,
56 x 23 x 20 cm. Photo by Joe McDonald / Lucy Lacoste Gallery
Wild Lupine 2020, 15 x 20 x 15, clay, underglaze, glaze, paint, and glass mediacm. Photo by Ashwini Bhat / Lucy Lacoste Gallery 
Garden of Earthy Delight 2020, mixed clay, underglaze, glaze, metal, and paint, 18 x 18 x 12.5 cm. Photo by Ashwini Bhat / Lucy Lacoste Gallery 
Beginning is the End is the Beginning 2020, clay, underglaze, glaze, and paint, 51 x 40.5 x 35.5 cm. Photo by Ashwini Bhat / Lucy Lacoste Gallery
Alive, 2020, clay, underglaze, glaze, and paint, 20 x 33 x 13 cm. Photo by Ashwini Bhat 
Alive, 2019, clay, underglaze, glaze, and paint, 16.5 x 23 x 15 cm. Photo by Forrest Gander / Cavin Morris Gallery
Alive 2019, clay, feldspar, and natural ash, 11.5 x 14 x 13 cm. Photo by Jurate Veceraite / Cavin Morris Gallery 
Beginning is the End is the Beginning 2019, clay, underglaze, glass and garnet media, 20 x 7.5 x 19 cm. Photo by Jurate Veceraite / Cavin Morris Gallery 
Beginning is the End is the Beginning 2019, clay, underglaze, glaze, and paint, 18 x 19 x 11.5 cm. Photo by Jurate Veceraite / Cavin Morris Gallery 
Processual Minerality 2017, clay and glaze, 14 x 20 x 6 cm, wild clay, glaze. Photo by Ashwini Bhat 
Processual Minerality 2017, clay and glaze, 14 x 20 x 6 cm. Photo by Ashwini Bhat 
Processual Minerality 2017, clay and glaze, 14 x 20 x 6 cm. Photo by Ashwini Bhat 
Compass Rose 2018, clay, slip, glaze, and thread, 609 x 457 cm, wall installation. Photo by Ashwini Bhat 
Honoo no Mori 2017, clay, underglaze, and glaze, 213 x 61 x 61 cm. Photo by Shigaraki Ceramic Cultural Park, Japan
Ashwini Bhat: Selected works, 2017-2020
I’m not interested in creating a perfect object — if what defines an object is our removal from it. Instead, I’m searching for gestural links that emphasize what we share with the non-human world, how we are related not only to animals, but to trees, for instance. The awareness of our relatedness has ethical implications as we recognize that we, ourselves, are not masters set apart from everything else, but living communities of different organisms affected even by the inanimate world. I want my art to materialize a personal environment in which the suggestively biomorphic volumes of my sculptures, or my photographs and films, engage the viewer — so tactile apprehension leads to recognition, to contemplation, and to moments of exhilaration. If I’m not making art with some awareness of what is at stake in our time, I wouldn’t want to be an artist.
