| Madhvi SubrahmanianIndian studio potter.
  
  Madhvi
              Subrahmanian is an Indian studio potter resident in the 
              USA. She trained with Ray
              Meeker and Deborah
              Smith at the Golden Bridge Pottery in Pondicherry in 1985 
              and established her first studio in Mumbai that same year. In 1989 
              she went to the USA, where she earned an MFA from the Southern Methodist 
              University in Dallas, Texas in 1993. In the 1990s she also worked 
              with prominent American ceramists Val Cushing, Warren Mckenzie, 
              William Daley, Peter Beasecker and others.
  
  After 
              moving to Frankfurt, Germany with her husband in 1995, she returned 
              to India, making her characteristic coil-built earthenware forms 
              finished with terra sigillata and glazed surfaces. Since then she 
              has returned to the USA and now lives and works in Princeton, New 
              Jersey.
 Subrahmanian draws inspiration drawn from natural forms representing 
              fertility and abundance, which are often paralleled in ancient artifacts 
              and contemporary art.
                
 Artist's Statement
              Most 
              of my work in clay is built by layering coil over coil, with the 
              form spiraling upward in a rhythm which is quiet and slow but not 
              too different from the potter's wheel. The mark of the hand and 
              the holes left behind by layering the coils leave a trace on the 
              skin of the pot and give it a texture. The forms I am compelled 
              to make repeatedly and explore sculpturally revolve around the theme 
              of the container - one that holds, protects, and nurtures. The container 
              oRen transforms into a pod, a seed, a shell and rests, finding its 
              home in shallow plates and wide bowls. At other times the seed manifests 
              itself on the surface shinning through as gleaming eyes enshrined 
              into the just cut fruit. Working on the surface, I layer slips and 
              glazes, firing each piece several times striving towards achieving, 
              that effect of time often found on eroded landscapes.
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