Design Democracy had plenty of interesting things to showcase this year, and one of the attractions that caught the attention of visitors was the Sculpted India kiosk. Presenting artworks and sculptures by some of India’s well-known artists, the display drew art lovers, many of whom by to take a closer look at the striking works. CE caught up with Sanya Malik, managing partner, Sculpted India, to know about the artists, the works on display and the idea behind the platform
Talking about the presentation at Design Democracy, Sanya says, “At Design Democracy, Sculpted India presented a curated selection of sculptures by seven significant Indian artists spanning modern and contemporary generations. The presentation brought together works by Krishen Khanna, Thota Vaikuntam, Jogen Chowdhury, Himmat Shah, Dhananjay Singh, Phaneendra Nath Chaturvedi, and Yashika Sugandh. While each artist works with a distinct visual language, the exhibition was united by a common interest in form, materiality, and the expressive possibilities of sculpture.” The choice of artworks was also guided by a specific curatorial vision. “Our curatorial approach was to highlight how artists use sculpture not simply as an object, but as a way of thinking. We selected works that demonstrate a strong relationship between idea, material, and form,” says Sanya. The presentation was designed to showcase the breadth of Indian sculptural practice, from the iconic faces of Thota Vaikuntam and the figurative worlds of Krishen Khanna to younger artists who are expanding the language of sculpture today.
Sculpted India’s focus on sculpture comes from its belief that the medium deserves greater visibility within the Indian art ecosystem. “Sculpture remains one of the most powerful yet underrepresented areas of the Indian art ecosystem. Sculpted India was founded with the intention of creating a platform dedicated entirely to sculptural practices,” she says.
Unlike works that remain confined to a two-dimensional frame, sculpture engages with space, architecture, movement and material, creating an experience that changes as the viewer moves around it. “We believe it deserves deeper visibility and engagement among collectors, institutions, designers, and the wider public,” she adds. The larger sculptures at the showcase further demonstrated the ability of the medium to transform a space. According to Sanya, “The larger works were especially important because they demonstrate how sculpture can transform a space. Monumental sculptures invite viewers into a physical relationship with the artwork rather than simply a visual one.”
The large-scale works by artists such as Krishen Khanna showcased how sculptural form can carry presence and narrative while becoming an integral part of the architectural environment around them. The response at Design Democracy was equally encouraging. “We saw strong engagement from collectors, architects, designers, and art enthusiasts who were excited to encounter a presentation dedicated entirely to sculpture,” Sanya says. Visitors spent considerable time observing the works from different angles, an aspect that makes sculpture particularly immersive. “Sculpture reveals itself through movement and multiple viewpoints. The reception reinforced our belief that there is a growing audience interested in material-driven, sculptural practices in India today,” she concludes.