Patwardhan Piyusha (IND),
Between the Lines
Between the Lines
A hand-woven newspaper dress that turns disposable news into a tactile, temporary garment, exploring how global chaos shapes our personal lives and what it means to carry the world's weight.
ARTIST STATEMENT
Piyusha Patwardhan
I come from India a place where handcraft lives within everyday life within homes, routines, and the rituals. My earliest memories of making come from sitting beside my mother as she embroidered or knitted while I finished my homework. Her hands moved steadily, carrying knowledge shaped by generations of women before her. What she made was never separated from daily living; it was an extension of care, patience, and continuity. These quiet moments shaped my understanding of creativity as something intimate and lived, rather than performed. What I carry into my practice today is an inheritance of the hand a matriarchal knowledge passed down through generations.
This early familiarity with making eventually found structure through my education in architecture. Architecture gave form to instinct; it taught me how space is felt, how scale influences emotion, and how material behaves over time. I learned to think in systems, proportions, and rhythms, and to understand space as something that holds bodies and experiences. Yet even within this discipline, I felt drawn to what lay beyond function to softness, fragility, and ambiguity. Sculpture became a way for structure to loosen and intuition to lead.
My present practice sits at the intersection of handcraft, light, and space. I work with techniques such as origami, crochet, folding, and weaving slow, repetitive processes that allow material to absorb time and touch. Light is not used to dramatize form, but to give it breath, revealing layers, shadows, and moments of stillness. My installations draw from nature, mythology, music, and cosmic systems, exploring ideas of impermanence, illusion, rhythm, and transformation. Repetition becomes meditative; geometry softens into organic flow.
Looking ahead, I see my practice deepening into research-driven sculptural work that continues to honour craft while engaging with contemporary spatial and conceptual discourse. I am interested in expanding material experimentation, creating larger immersive environments, and developing works that exist across galleries, public spaces, and contemplative settings. My future vision remains rooted in continuity carrying forward a matriarchal legacy of making, while shaping a sculptural language that is quiet, immersive, and deeply human.