Drawing Room: What Alaiia Gujral sees in Ashiesh Shah’s Stambh sculptures
Ashiesh Shah’s pillar sculptures echo not just temple architecture, but India’s vast craft traditions and his own modern ideas
I’ve always admired Ashiesh Shah’s Stambh collection of sculptures. In Vedic texts, a stambh is a cosmic column connecting heaven and earth. Shah’s pillars embody this lofty ideal, but still seem firmly in the here and now. He’s made several over the years. Some feature rustic, tribal elements, as with the cane and natural fibres of the Naga Raincoat Stambh. Others, such as the playful, futuristic Guccha Stambh, consist of white aluminium half-eggs emanating a yellow glow.
One set draws from the glossy, lacquered crafts of Channapatna in Karnataka. Another, the Kantilo Stambh, is a clear nod to artist Anish Kapoor’s gigantic architectural membrane installation Taratantara. Some feel almost weightless, while others have a singular, monolithic presence.
Shah’s work in art, architecture and design isn’t just about how an object looks. He brings in history, his knowledge of materials and crafts traditions, so each work feels intentional, rather than a piece of nostalgia. Most importantly, his frequent collaborations with artisans, migrant workers and creative communities, foster much-needed conversations in the field of design.
Each piece seamlessly integrates architecture, sculpture, and furniture. They can be taken apart to function as simple tables, chairs, or other items of quotidian use. To me, these tall, stacked totemic poles feel like quiet monuments, with each piece drawing from Indian temple pillars, but stripped down to their essence.
I love that he embraces imperfection. He works with materials that include hand-carved stone, lacquered wood, woven grass, and metals, keeping the focus on materiality and craftsmanship. The materials take centre stage without being forced into overly polished forms. There’s a balance between raw and refined, past and present, which makes them more than just objects – they feel like artifacts of a future history.
My first reaction to the Stambh pieces was admiration for their restrained yet powerful presence. Over time, I also learnt to appreciate his depth of research and his collaborations. Shah has a knack for blurring the lines between functional design and art. His approach to material and form reminds me of artists such as Isamu Noguchi, who also play with the balance of sculpture and functionality. The use of materials feels natural, never forced, and the work never tries too hard to be modern – it just is.
I try to carry these ideas into my own curatorial and design work. My aim is to create spaces and objects that don’t just look interesting but feel grounded in something deeper.
Artist bio: Alaiia Gujral creates immersive experiences that merge art, design, and culture. Originally from Delhi, she currently resides in Chicago where she runs Future Galerie, her experimental studio and production house.
From HT Brunch, February 22, 2025
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