MRID CERA

17/10/2026

TAKSHANAM | National Gallery of Modern Art, New Delhi

I was delighted to be part of Takshanam, a sculpture exhibition at the National Gallery of Modern Art, New Delhi, bringing together the works of so many wonderful artists and sculptors.

My work, Kaal Chakra–2, is displayed in the courtyard alongside a work by the late Balbir Singh Katt ji (image 5). It is an honour to see my work in the company of such distinguished artists, within a space dedicated to India’s artistic heritage.

The occasion was graced by Chief Guest Shri Gajendra Singh Shekhawat, Hon’ble Minister of Culture, and Guests of Honour Shri Vivek Aggarwal, Secretary (Culture), and Dr. Sanjeev Kishor Gautam, Director General, National Gallery of Modern Art.

My sincere thanks to the organisers for bringing these diverse sculptural practices together, and for the opportunity to be part of this exhibition.

Keshari Nandan Prasad | MRID CERA

02/10/2026

Reflections from the studio on Gandhi Jayanti:

Gandhi Ji’s charkha was never only about turning raw cotton into something to wear. He kept spinning daily long after independence made it practically unnecessary, because the wheel itself was the point: a small, repeated act of self-reliance that no one could take from a person, whoever ruled over them. A potter’s wheel asks something close to the same thing of the hand that turns it, slow, local, with nothing to shortcut and nothing to rush.

A Kaal Chakra (image 2) from Fire & Form return to this wheel almost literally, circles and loops built from clay found close to home. Writing about this body of work, curator Kristine Michael read it as an exploration of aatman and rebirth within Indian philosophical thought: existence as a continuous turning through birth, life, death and return, circling onward until the soul is finally released into moksha, the looping, recurring forms standing in for that cycle itself.

Gandhi’s wheel turned toward self-reliance. This one turns toward something older still: the thought that nothing, not even the self, moves in a straight line. Both insist, in their own way, that the hand and the mind were never meant to work apart.

30/08/2026

A visit to Tijara Fort-Palace

Thank you, Aman Sir, for inviting me to Tijara Fort-Palace. I had a wonderful two days there.

Aman Sir has spent many years bringing old heritage properties back to life through Neemrana Hotels. He is also a historian, writer and art curator, and you can see his love for art and history in everything he does.

Tijara is very beautiful. It did not feel like a hotel to me. It felt very much like a home. Every room, every wall and every small detail has been thought about with so much care. I especially loved that the rooms are named after artists and designers and that their work is part of the spaces.

I have known Aman Sir for some years now. In 2022, he came to the Bhaislana studio to look at studio pottery and tableware for his Neemrana properties.

We meet from time to time at exhibitions. I always enjoy talking to Aman Sir because he has a real interest in ceramics. He looks at the work so deeply and asks questions. He understands that behind a ceramic object there is clay, fire, time and a lot of work.

For an artist, that is very meaningful.

These two days at Tijara were a much-needed break after a busy opening. I enjoyed the property so much, the quiet and the beauty of the old fort, and I am very grateful to Aman Sir for inviting me.

I hope many people will visit Tijara and experience it for themselves.

Thank you, Aman Sir.

— Keshari Nandan Prasad
MRID CERA

22/08/2026

A beautiful piece by Farah Khatoon in The Times of India looks closely at Keshari Nandan’s journey with clay and the making of FIRE & FORM— his recent exhibition at Shridharani Gallery, Triveni Kala Sangam, curated by Uma Nair and supported by 108 Art Projects.

Farah captures something essential about Keshari’s practice: the continuity between functional pottery, architectural ceramics and contemporary stoneware sculpture, and the deep material knowledge that connects them. From clay preparation and mineral glaze development to kiln construction and atmospheric firing, the process is not separate from the art; it is the art.

We are also grateful to Aman Nath, who joined us at the preview and reflected so beautifully on Keshari’s relationship with clay and fire:

“Keshari Nandan understands his clay and fire and can control its creative process.”

His larger reflection placed Keshari’s nine Mother Goddess platters (slide 10) within an extraordinary continuum of ceramic history, from Harappan and Mesopotamian forms to the urgencies of contemporary sculpture.

Thank you, Farah for spending the time to look closely and write so thoughtfully about Keshari Nandan, his ceramic practice and FIRE & FORM ❤️.

17/08/2026

We were so delighted to have ceramist, Vineet Kacker, visit Fire & Form and share his thoughts on one of the works that particularly caught his attention— Keshari’s bamboo sculpture.

Thank you, Vineet, for spending time with the exhibition and for sharing your thoughts with us.

⚠️The show closes tomorrow evening. If you’re in Delhi NCR and you’ve not had a chance to see it, please drop by!

‘Fire & Form’
Keshari Nandan Prasad
Curated by Uma Nair
Supported by 108 Art Projects
📍 At Shridharani Gallery, Triveni Kala Sangam
On view through 18 August, 11 am–8 pm.

15/08/2026

Some images do not simply belong to history; they become part of how a nation remembers itself.

This stoneware platter by Keshari Nandan Prasad was created for the 150th birth anniversary of Mahatma Gandhi, for an exhibition at the Lalit Kala Akademi, curated by Uma Nair.

Made in the echo of Nandalal Bose’s celebrated linocut of Gandhi, its imagery recalls the historic Dandi March of 1930, when salt became a powerful symbol of resistance, dignity and self-rule.

There is something deeply moving about translating that image into clay. A moment already etched into the national imagination is given another life through earth and fire, becoming at once an object, an archive and a vessel of memory.

As India marks 79 years of Independence, perhaps this work reminds us that freedom is never only a date in history. It is a memory we inherit, a value we carry forward, and an idea we continue to make our own.

Wishing you all a Happy Independence Day. May we continue to honour the freedoms that were imagined, fought for and carried forward by those who came before us.

Happy Independence Day, India 🇮🇳!

FIRE & FORM
By Keshari Nandan Prasad
🖊️ Curated by Uma Nair
📍 Shridharani Gallery, Triveni Kala Sangam, New Delhi
🗓️ On view through 18 August 2026
🤝 Supported by Tarun Khanna

🍽️ In frame: stoneware platter belongs to the private collection of Bespoke Gallery, Ahmedabad.

10/08/2026

For over three decades, one man has spent his days with his hands in clay and his eyes on fire.

Meet Keshari Nandan Prasad, the artist behind MRID CERA, and the reason this studio exists at all.

Long before any award or exhibition, Keshari was simply someone who wanted to understand what earth becomes when you’re patient enough with it. He formulated his own clay bodies. He mixed his own glazes, and still does, by hand, to this day. He built kilns, broke pieces, started over, and kept going. Thirty-five years later, he’s a National Award-winning ceramic sculptor, but ask him, and he’ll tell you he’s still learning what the kiln has to teach.

MRID CERA takes its name from mrid (soil) and cera (ceramic). It’s an artist-run, artist-led ceramic atelier, which is a specific thing, and worth explaining. It means functional pottery, architectural commissions, and sculptural work aren’t run as separate businesses under one roof. They come from the same hands, the same glaze recipes, the same fire. A teacup and a monumental sculpture might look worlds apart, but here, they share a lineage.

Over the coming weeks, we’ll be opening up more of what happens inside this studio, the process, the people who make it run, and the ideas behind the work. It felt right to start today: Keshari’s exhibition, Fire & Form, curated by Uma Nair opens tomorrow at Triveni Kala Sangam in Delhi, and we wanted you to meet the person behind it first.

If you’ve followed us for the pottery, welcome to the rest of the story love❤️.

09/02/2026

22/12/2025

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