Ritika Anand

Ritika Anand Ceramic artist

The Indigo Grove Vase started with a question I keep returning to — how do you balance movement and stillness in a singl...
25/05/2026

The Indigo Grove Vase started with a question I keep returning to — how do you balance movement and stillness in a single object?

The answer here was cobalt. Deep, saturated botanical motifs carved by hand into warm stoneware, wrapping around a form that flares at the top and rounds at the base.

The result is a piece that settles into a room like it was always meant to be there.

Explore the full collection → Link In Bio

I've always believed that objects can hold narratives without overwhelming the space they're placed in. The Landscape Ve...
21/05/2026

I've always believed that objects can hold narratives without overwhelming the space they're placed in. The Landscape Vessel came from that instinct — wheel-thrown stoneware, an iron oxide rustic glaze, and fine pencil-rendered illustrations of trees, geometric forms, and open horizon.

Subtle enough to live with. Detailed enough to reward a second look. Works as a decorative object, a vessel for dried stems, or lit softly from within.

Swipe to see the illustration up close ➡️

New collection. Link in bio.

From the Forest Floor.Three pieces. One origin. All shaped by the earth's quiet vocabulary — bark, wood, root, and water...
19/05/2026

From the Forest Floor.

Three pieces. One origin. All shaped by the earth's quiet vocabulary — bark, wood, root, and water.

Bark that weathers and holds. Earth that grounds and steadies. Ocean depth that moves and breathes. Together, they form a single perspective on balance — the kind that exists quietly in the natural world, long before we think to look for it.

Shop the collection at
Link in bio
shambhalaart.in/artist/329/ritika-anand

15/05/2026

Some pieces ask for softness. These asked for boldness.

Leaf-carved vases built to hold presence — raw matte stoneware, deep brown carvings that move across the surface like a natural stain. Fired exactly as intended.

It is all about the contrast. Quiet in material, strong in expression. A statement object for the shelf, the table, the corner that needed something real.

→ Link in bio
studioiylabyritikaanand.com

Warm. Grounded. A little imperfect — which is exactly what makes it real.These bowls are finished in iron oxide, a glaze...
13/05/2026

Warm. Grounded. A little imperfect — which is exactly what makes it real.

These bowls are finished in iron oxide, a glaze that shifts in the kiln, never fully predictable, always honest. Wide, shallow — made for the food you actually cook.

Swipe to see what that glaze really looks like up close ➡️

New collection. Link in bio.

Just like the sea—with its quiet power that softens, shapes, and transforms—these platters carry the same essence.A ston...
11/05/2026

Just like the sea—with its quiet power that softens, shapes, and transforms—these platters carry the same essence.

A stonewashed blue-green, speckled like a weathered shore. Wheel-thrown, made by hand, and meant to become a part of your everyday rituals.

Crafted to sit on your table, and stay in your moments.
Order Now - Link in Bio

Rough on the outside. Alive on the inside.The bark-like texture meets a water glaze — something still moving, still hold...
06/05/2026

Rough on the outside. Alive on the inside.

The bark-like texture meets a water glaze — something still moving, still holding energy.

A wave. Strong yet calm. This balance is what I keep coming back to.

These pieces are made as much for the audience as for the artist. We never know which space they'll find — but they'll hold their presence in it, long after.

04/05/2026

Working with clay taught me that patience, centering, and slow construction are truths you feel in your hands. Rushing ruins the piece; staying present lets the material guide you.

The kiln’s uncertainty mirrors life—excitement and doubt together make the art.

I find beauty in what the material remembers.Every surface in my work carries a record of what happened to it. The crack...
29/04/2026

I find beauty in what the material remembers.

Every surface in my work carries a record of what happened to it. The crack that appeared during drying and was left, because it belonged. The edge that was left rough, because smoothing it would have taken away something true. The glaze that pooled in an unexpected place and became the most alive part of the piece.

I stopped thinking of these things as imperfections a long time ago. They are not mistakes that survived the firing. They are evidence. Evidence of touch, of time, of the specific conversation this particular piece had with this particular pair of hands on this particular morning.

The material remembers. I try to let it.

Swipe through to see the surface up close.

Over time, there is a rhythm built and a muscle memory that guides me to work with clay — it's all about the practice.I ...
27/04/2026

Over time, there is a rhythm built and a muscle memory that guides me to work with clay — it's all about the practice.

I have spent hours on the wheel, wedging clay, playing with clay randomly, making little maquettes just to understand how this material responds — how much water is required, outside weather conditions, firing temperatures, kiln knowledge — all of these need to be understood well in order to arrive at a conceptually designed piece, which was initially on paper.

Tools are the supporting factor. Nothing fancy — everyday things we use in the kitchen or in our daily lives. Even though I love buying new tools and go crazy happy when I see a stationery shop, over these years I've also realised that even a kitchen spatula works best. I have raided my mum's kitchen and collected all that she doesn't use — and even some she would want to, but can't now 😄

This is the handcrafting process, and it has its own iterations. Muscle memory gets built through practice. Pieces are designed and crafted not just with discipline and process rigour — but with feeling.

Meet the Dessert Bowl — born from hours of practice, patience, and clay. 🛒 Shop Now — Link in bio.

21/04/2026

Clay, in simple terms, is mud or Mitti in hindi. One of the main reasons I started working with clay is its sustainability. It is recyclable, resistant, built for endurance and always giving you a lesson in second chances.

It begins as powder. Becomes wedgeable and then can be crafted as the artist intends. Making a piece is a process, and in this part of the process there is always an option – to reform what’s made or to completely start afresh.

But when fire finally meets raw clay in the kiln, something permanent happens. The potential becomes the object.

The Sea Shore Platter and all my pieces begin exactly this way. Moulded and crafted by hand, shaped slowly over time, fired once, glazed and then placed for final firing. This is where the unplanned artistry takes shape and glazes plus fire produce the final piece unique and ready for the table.

SHOP NOW - https://bit.ly/4cWi49W

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