Sculpting Lineages: Women Across Generations

Sculpting Lineages: Women Across Generations

August 22, 2026 – September 26, 2026

Artworks in Exhibition

What does it mean to inherit a sculptural language? And what happens when each generation refuses to speak it in quite the same way? Sculpting Lineages: Women Across Generations brings together six artists across nearly seven decades: Ira Chaudhuri (b. 1927), Latika Katt (1948-2025), Shambhavi (b. 1966), Sojwal Samant (b. 1972), Radhika Agarwala (b. 1985) and Poojan Gupta (b. 1998). Rather than proposing a linear history, the exhibition traces affinities — ideas, materials, gestures and questions that recur across time, only to be altered by each artist who encounters them. The lineage begins with practices that unsettled the boundaries of sculpture itself. Ira Chaudhuri’s pots challenge the separation of art from craft, utility from aesthetic experience. Latika Katt expanded sculpture through portraiture, ecological observation and an extraordinary range of materials, bringing attention to bodies, landscapes and the processes of growth and decay.

With Shambhavi and Sojwal Samant, sculpture moves further from the autonomous object. It becomes an experience of land, labour, memory, domesticity and the psychological self. Shambhavi asks us to sense the earth through touch, rhythm and material memory; Samant finds sculpture in the apparently insignificant — the domestic object, the unfinished task, the anxiety beneath the everyday. For Radhika Agarwala and Poojan Gupta, matter becomes an archive. Bark, soil, fire-scarred trees and pharmaceutical waste carry histories that might otherwise disappear. Their practices ask what deserves to be preserved, what we choose to discard, and how an object can acquire another life through attention.

Across these generations, the figure gradually disperses. Sculpture moves from modelling bodies towards mapping relationships: between humans and materials, labour and memory, ecology and survival, care and waste. Yet nothing is entirely new. The questions return. This is where lineage becomes meaningful — not as inheritance in the sense of repetition, but as a process of transformation. A pot becomes a question about sculpture. A portrait becomes an ethics of attention. A rural tool becomes a tactile language. A domestic object becomes psychological terrain. A fallen tree becomes an ecological archive. A discarded blister pack becomes a relic. The works gathered here suggest that sculptural history is not only made through objects. It is made through the ways artists learn to look, touch, remember and reimagine the material world.

Nainvi Vora

Artists

Installation Shots

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