Ashwini Bhat: What I Touch Touches Me

May 8 – June 5, 2021

Ashwini Bhat

Intimate Earth Object #1

Ceramic

9.50h x 6.50w x 6.50d in

AB041

SOLD

Ashwini Bhat

Intimate Earth Object #2

Ceramic

10h x 4w x 7d in

AB042

SOLD

Ashwini Bhat

Intimate Earth Object #3

Glazed Ceramic

6h x 10w x 6d in

AB043

SOLD

Ashwini Bhat

Intimate Earth Object #4

Glazed Ceramic

13h x 7w x 7d in

AB044

SOLD

Ashwini Bhat

Intimate Earth Object #6

Glazed Ceramic and Paint

5h x 10w x 11d in

AB046

$2,000

Inquire 

Ashwini Bhat

Animated Object #1

Glazed Ceramic and Paint

7.50h x 8w x 3d in

AB047

$ 1,200.00

Inquire 

Ashwini Bhat

Animated Object #3

Glazed Ceramic and Paint

6.50h x 7.50w x 3.50d in

AB049

$ 1,200.00

Inquire 

Ashwini Bhat

Animated Object #4

4.50h x 9w x 3d in

AB050

SOLD

Ashwini Bhat

Animated Object #5

Glazed Ceramic and Paint

5.50h x 8w x 3d in

AB051

SOLD

Inquire 

Ashwini Bhat

Comfort Object #1

Glazed Ceramic and Paint

3h x 3w x 3d in

AB055

SOLD

Ashwini Bhat

Comfort Object #2

Glazed Ceramic and Paint

AB056

SOLD

 

Ashwini Bhat

Comfort Object #3

Glazed Ceramic and Paint

3h x 3w x 3d in

AB057

$250.00

Inquire 

Ashwini Bhat

Comfort Object #5

Glazed Ceramic and Paint

3h x 3w x 3d in

AB059

$250.00

Inquire 

Ashwini Bhat

Comfort Object #6

Glazed Ceramic and Paint

3h x 3w x 3d in

AB060

SOLD

Ashwini Bhat

Comfort Object #10

Glazed Ceramic and Paint

3h x 3w x 3d in

AB064

$250.00

Inquire 

Ashwini Bhat

Comfort Object #11

Glazed Ceramic and Paint

3h x 3w x 3d in

AB065

$250

Inquire

 

Ashwini Bhat

Comfort Object #14

3h x 3w x 3d in

AB068

SOLD

 

 

Ashwini Bhat

Comfort Object #15

3h x 3w x 3d in

AB069

SOLD

Ashwini Bhat

Comfort Object #18

Glazed Ceramic and Paint

3h x 3w x 3d in

AB072

Inquire

Ashwini Bhat

Comfort Object #19

Glazed Ceramic and Paint

3h x 3w x 3d in

AB073

SOLD

Ashwini Bhat

Comfort Object #20

Glazed Ceramic and Paint

3h x 3w x 3d in

AB074

Inquire

Ashwini Bhat

Comfort Object #21

Glazed Ceramic and Paint

3h x 3w x 3d in

AB075

Inquire

Ashwini Bhat

Comfort Object #22

Glazed Ceramic and Paint

3h x 3w x 3d in

AB076

Inquire

Ashwini Bhat

Comfort Object #23

Glazed Ceramic and Paint

3h x 3w x 3d in

AB077

SOLD

Ashwini Bhat

Comfort Object #25

Glazed Ceramic and Paint

3h x 3w x 3d in

AB079

Inquire

Ashwini Bhat

Comfort Object #30

Glazed Ceramic and Paint

3h x 3w x 3d in

AB084

Inquire

Ashwini Bhat

Comfort Object #31

Glazed Ceramic and Paint

3h x 3w x 3d in

AB085

Inquire

Ashwini Bhat

Comfort Object #33

Glazed Ceramic and Paint

3h x 3w x 3d in

AB086

Inquire

Ashwini Bhat

Comfort Object #34

Glazed Ceramic and Paint

3h x 3w x 3d in

AB087

SOLD

Ashwini Bhat

Comfort Object #39

Glazed Ceramic and Paint

3h x 3w x 3d in

AB092

Inquire

Ashwini Bhat

Comfort Object #41

Glazed Ceramic and Paint

3h x 3w x 3d in

AB094

SOLD

Ashwini Bhat

Comfort Object #42

Glazed Ceramic and Paint

3h x 3w x 3d in

AB095

Inquire

Ashwini Bhat

Comfort Object #43

Glazed Ceramic and Paint

3h x 3w x 3d in

AB096

SOLD

 

Ashwini Bhat

Comfort Object #45

Glazed Ceramic and Paint

3h x 3w x 3d in

AB098

SOLD

Ashwini Bhat

Comfort Object #48

Glazed Ceramic and Paint

3h x 3w x 3d in

AB100

Inquire

Ashwini Bhat

Comfort Object #50

Glazed Ceramic and Paint

3h x 3w x 3d in

AB102

Inquire

Ashwini Bhat

Comfort Object #51

Glazed Ceramic and Paint

3h x 3w x 3d in

AB103

Inquire

Ashwini Bhat

Comfort Object #52

Glazed Ceramic and Paint

3h x 3w x 3d in

AB104

Inquire

Ashwini Bhat

Comfort Object #53

Glazed Ceramic and Paint

3h x 3w x 3d in

AB105

SOLD

 

Press Release

Lucy Lacoste Gallery announces the upcoming exhibition Ashwini Bhat: What I Touch Touches Me May 8. – June 5, 2021 in Concord MA. The artist’s new body of work explores her track toward a metaphysical understanding of nature, objects, and our relationship with them.

Ms. Bhat, once a classical dancer in her native India, now lives in Petaluma, California with her husband, the celebrated poet Forrest Gander. Her sculpture is primarily abstract, with lines of sensuality (echoing the dancer) moving through her work. Color, always an element in her art, becomes increasingly important, contrasting with the backdrop of raw clay. Long respectful of nature, in the last few years of her career, nature to Bhat has become not just an influence, but the wellspring. This is her second solo exhibition at Lucy Lacoste Gallery.

As Ashwini Bhat writes: “the structure of my new body of work is derived from my immersion in my surroundings in a dramatic, highly various, and fragile Northern California landscape. The sculptures are assembled in four segments: Comfort Objects evolved— during a pandemic in which touch has become unsafe— from my examination of the shapes and forms of seedpods as symbols of mysterious, life-birthing potentialities. Animated Objects are studies in gesture, movement, and the feelings evoked by my memories of objects that have deep personal associations for me. Intimate Earth Objects reference elements of earth and body. These biomorphic forms enact the co-existence and mutuality of the human and non-human. And they also focus on the sorts of objects that are historically or culturally associated with rituals and sacrality. Assemblage Objects juxtapose colors and consortiums of form that reference particular landscapes in which I’ve spent time. The shadowbox is, clearly, an homage to Joseph Cornell, who lived most of his life in physical isolation, but remained in touch with his contemporary makers.

All four segments are linked by allusions to primordial symbols or patterns such as the Mandala, Spiral, Serpent, the Ouroboros, and the Fibonacci sequence. The meanings of these sculptures are fluid, not rigid. The objects might easily cross over and fit into other groupings. And this boundarylessness allows them to acquire multiple connotations. There is an open interplay of elements and a possibility of infinitely reassembling alliances. My aim is to suggest ways of looking that promote raveled and linked engagements that define the relation between all animate and inanimate matter.“ Ashwini Bhat, Spring 2021

We are honored to have Shannon R. Stratton, the independent curator, writer and current Executive Director of Oxbow School of Art and Residency write the catalogue essay for this exhibition, excerpted below:

“Bhat’s new objects are a reminder of the realness of the earth we continue to live on, even while the digital realm might drag us elsewhere. I could describe the objects Bhat has made for What I Touch Touches Me, as 

impressions. Impressions in that they are feelings or senses of the world, of space, of time and of the body. Impressions in that they are, or they bear, the imprint of the body or the earth upon them. Impressions in that they are the artist’s rendition of a moment, a place – specifically her physicality during a global pandemic in the dramatic landscape of Northern California. These objects tell me: “I am here. And here is here. And this was now, then.”

....as I long to spend less time in front of a screen, I recognize that what I truly want: is to hold things. And while I cannot hold Bhat’s Comfort Objects, I am grateful for the reminder that I too am touched by the things I touch, and it is through those material encounters that I am better able to feel. “

- Shannon R. Stratton, April 2021

Ashwini Bhat: Artist Statement 

Although my earlier work was also focused on earthliness and materiality, in the last few years of my career, nature has become not just an influence, but the wellspring. This new body of work explores my trajectory toward a metaphysical understanding of nature, objects, and our relationship with them. 

In developing this body of work, I take inspiration from the lauded eco-poet Brenda Hillman, one of American poetry’s more innovative writers, whose recent books and whose company on several hikes in Northern California have stimulated my imagination. Hillman talks about the artist’s formal aspiration for both “structure and boundarylessness.” 

The structure of my new body of work is derived from my immersion in my surroundings in a dramatic, highly various, and fragile Northern California landscape. The sculptures are assembled in four segments: Comfort Objects evolved— during a pandemic in which touch has become unsafe— from my examination of the shapes and forms of seed-pods as symbols of mysterious, life-birthing potentialities. Animated Objects are studies in gesture, movement, and the feelings evoked by my memories of objects that have deep personal associations for me. Intimate Earth Objects reference elements of earth and body. These biomorphic forms enact the co-existence and mutuality of the human and non-human. And they also focus on the sorts of objects that are historically or culturally associated with rituals and sacrality. Assemblage Objects juxtapose colors and consortiums of form that reference particular landscapes in which I’ve spent time. The shadowbox is, clearly, an homage to Joseph Cornell, who lived most of his life in physical isolation, but remained in touch with his contemporary makers. 

All four segments are linked by allusions to primordial symbols or patterns such as the Mandala, Spiral, Serpent, the Ouroboros, and the Fibonacci sequence. 

But the meanings of these sculptures are fluid, not rigid. The objects might easily cross over and fit into other groupings. And this boundarylessness allows them to acquire multiple connotations. There is an open interplay of elements and a possibility of infinitely reassembling alliances. My aim is to suggest ways of looking that promote raveled and linked engagements that define the relation between all animate and inanimate matter. 

I’m drawn to points of view that reject the privileging of human existence over non-human beings and objects. I’m drawn to rituals rather than religion; to animism rather than monotheism. I feel a kinship with Brenda Hillman when she says she thinks of herself as a mystic in a practical way, and I feel an appreciation for her poetry which flows through matter, spirit, and everything in between: 

“In the expiation of nature, we are required to experience the dramatic narrative of matter. 

The rocks under California are reigning in their little world. 

This was set down in strata so you could know what it felt like to have been earth.” 

— Ashwini Bhat Petaluma, CA 2021 

 

We had the pleasure of hosting a virtual conversation with Ashwini Bhat and Shannon Rae Stratton which you can view here!

 

View Ashwini Bhat's virtual catalogue for their show What I Touch Touches Me.

This darling homage is available for purchase today for $26. 

 

 

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