PORTFOLIO
PORTFOLIO
My work moves between object and body, forms that feel familiar, but not fixed.
Working with ceramics and wood, I create sculptural and wall-based pieces that hold a sense of instability. Some appear to lean, fold, or almost collapse, as if in the process of becoming something else.
I’m drawn to moments where forms shift from open to held, covered, partially enclosed, or interrupted. These gestures don’t fully hide what’s there, but they change how it can be seen, creating a distance between presence and access.
The work is shaped by movement and transition between places, identities, and states of being. It reflects a need to hold, to support, and to stay intact while something is still forming.
I’m interested in that in-between space—where something is still present, still becoming, and not yet fully defined.
Soft Armour
(Ongoing body of work)
The tension between visibility and protection, between exposure and care, sits at the center of the work.
Pooja Pawaskar
Artist & Sculptor
POOJA PAWASKAR
I make work that sits somewhere between being seen and being held.
Lately, I’ve been drawn to covering forms, wrapping, enclosing, partially concealing. It’s a gesture I don’t fully understand yet, but keep returning to. Sometimes it feels like protection. Sometimes like control.
Working mainly with ceramics and wood, I create sculptures and wall-based pieces that hold tension, between exposure and concealment, fragility and support, body and object.
Right now, the work is shaped by a period of transition in my life. Questions around home, identity, and stability have shifted how I think about visibility, what it means to show, and what it means to stay intact.
I’m not trying to resolve these questions. I’m interested in holding them.
Exhibitions
SOLO Exhibit, France
DUO EXHIBIT, Conversations w/ TREES
Upon further reflection
THE HEART OF ART
Artist Statement
I am an Indian-born Canadian artist currently based in Arles, France.
My practice explores the relationship between surface, exposure, and protection through sculptural and relief-based forms. Working primarily with ceramics and sometimes wood, I’m interested in how form holds presence, and how surfaces shape what is revealed and what is kept back.
In my recent work, I’ve been covering or partially enclosing forms. I keep returning to this gesture and questioning what it does. Is it hiding something, or protecting it? When does being seen begin to feel like too much?
I don’t try to resolve this. The covering can feel like both at once, a way of controlling what is seen, but also a way of holding something together.
Rather than fully revealing what’s inside, the work creates a slight distance. What is there is still present, but not completely accessible.
Across sculpture and wall-based pieces, I work with balance, repetition, and containment. I’m interested in how material and surface can carry these tensions without explaining them, allowing the work to sit somewhere between exposure and protection, vulnerability and control.
