Nestled in the foothills of Himachal Pradesh, Andretta is more than a scenic retreat—it is a cultural hub shaped by generations of artists, potters, and performers. ‘A Path to Andretta,’ curated by Sarover Zaidi and Akanksha Maglani, traces the village’s artistic lineage through works by ten artists from Andretta village. “Putting this show together was a collective effort—we had no major funding apart from contributions from the artists themselves,” says Zaidi, describing the exhibition as a "labour of love".
Andretta’s artistic identity traces back to Norah Richards, an Irish actress who settled there in 1924, transforming it into a hub for drama, art, and rural life. After the Partition in 1947, renowned Sikh painter Sobha Singh established a permanent studio in Andretta. He was followed by painter and sculptor B.C. Sanyal, and sports administrator G.D. Sondhi.
Richards also extended her invitation to Sardar Gurcharan Singh, founder of Delhi Blue Pottery. Later his son Mansimran "Mini" Singh and daughter-in-law Mary Singh—two of India’s finest studio potters moved in 1980s. The couple secured a grant to establish the Andretta Pottery and Craft Trust.
Living legacy
Mini and Mary remain central to Andretta’s artistic community, mentoring generations of artists, many of whom feature in ‘A Path to Andretta’. Zaidi, a former student of Mini, emphasizes their lasting influence. “Mini and Mary started the pottery, and we all learned under them. But they never discouraged anyone who wanted to explore beyond clay.”
For instance, Gauri Sharma came to Andretta to explore pottery, but as a trained artist, eventually returned to her own medium, exploring landscapes. Her abstract acrylic and oil paintings 'Andretta Blues' are featured in the exhibition. Shuchika Rathod, now based in Bhopal, started her own pottery practice after training under them. Her ceramic series ‘When Pigs Fly’ is also exhibited.
Even in their 80s, Mini and Mary remain deeply engaged with artists. “Even if I don’t learn pottery from them, just being in their presence is a privilege,” says ceramicist Lipoklemla Ao, who runs Otsu Pottery studio in Andretta and is a former student of Delhi Blue Pottery.
The new generation
The exhibition is envisioned as a way to bring Andretta’s artists together. “Over the last 30 years, a new generation has settled here. This exhibition showcases those who have made Andretta their home,” Zaidi says.
The show features a diverse range of works—from Shiela Sedgewick's paintings on scrolls adorned with calligraphy poetry to Yamini J. Paul’s sculpture series ‘Lok’, which explores the decorative nature of human beings. Also on display are Shubham Sankhyan’s Sufi-inspired glazed terracotta sculptures and tableware. “Andretta fosters natural cross-learning—pottery was the foundation, but it brought in artists from various disciplines,” Zaidi explains.
Bianca Ballantyne’s monoprint series ‘Black Spring’ and ‘Pines on the Ridge’ capture Andretta’s landscape—pine trees, rain clouds, and rolling hills. “One of my favourite memories is watching storm clouds gather on the mountains. You can literally see the storm approaching,” she shares, hinting at an upcoming print series inspired by these visuals.
Ao, whose ceramic wares and sculptures are also featured, draws inspiration from her Naga heritage. “My work connects me to the generations of women before me. There’s something grounding about recognizing that we are part of a lineage, contributing to something larger than ourselves,” she reflects. Her sculptures depict everyday moments—women fetching water, carrying the Khang, Nagaland’s traditional bamboo basket—imbued with quiet strength.
The exhibition also blurs the line between craft and fine art, juxtaposing terracotta with contemporary expressions. Functional tableware, including terracotta boxes and ceramic pieces by Singh and Sankhyan, is displayed alongside paintings and sculptures. “There’s always been a tension between art and craft,” Zaidi notes. “Gurcharan Singh believed exhibitions should have accessible pieces—not just high art. That’s why we included a tableware section, so young collectors can engage with art.”
Beyond preserving its past, Andretta’s future depends on practical infrastructural support. “Mini used to constantly petition the administration to build roads here,” Zaidi recalls, emphasizing the importance of electricity and road access for artists reliant on kilns and uninterrupted creative processes. While the government grant helped establish the TerraCotta Museum, sustaining Andretta requires more than historical preservation—it needs support that allows the community to grow while retaining its essence.
For artists like Ballantyne, Andretta’s charm lies in its people. “It’s not just a place; it’s a way of life where art is woven into daily existence,” she says. Andretta continues to attract new artists, writers, and filmmakers, remaining a space for creative exploration. Zaidi sees it as a “place of education. People come to learn, create, and think—it’s inherently a creative and restful space”.
Ultimately, the show highlights Andretta’s art and artistic community. “You don’t need a single visual or conceptual connection,” says Ao. “Different works come together organically, yet feel naturally connected.” Andretta’s legacy isn’t just about preserving the past—it’s about nurturing a future where artists continue to shape the space as much as it shapes them.
On view at the Kamaladevi Complex, IIC, Lodhi Estate, till March 7