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With the world getting becoming a fast-paced race of survival, it’s no surprise we keep turning to nature to ground us. Whether it’s houseplants dotting city apartments, forest walk and hiking trip rituals, or beach escapes that offer a momentary breath, we’re constantly seeking ways to disconnect from our digital realities and reconnect to the physical one. There’s something healing about observing the minute details of the natural world: from trees and plants a d enrich the planet and all kinds of wonderful creatures that we co-inhabit it with. And in Nimmy Joshi’s ceramic practice, those moments are not only noticed, but immortalized in clay.
Her miniatures of owls, whales, octopuses, birds, chameleons, and alligators among others bring the magic of the wilderness into our spaces. From tiny adorable sculptures to large, detailed pieces, they turn into vessels of story and reverence of our ecosystem.
Nimmy’s journey into clay wasn’t linear. Trained as an architect, she found herself pulled towards making tangible objects with her hands. After experimenting with a diverse range of art forms , she took a pottery workshop on a whim while working in Bengaluru. Having worked with craft people in architecture, that spark grew stronger and eventually led her to Goa, where she apprenticed under master potter Thomas Louis. The limited resources pushed her towards ds using them efficiently - through miniatures.
Soon it turned into a practice that’s now become recognisable across India’s contemporary ceramic scene. Nimmy’s pieces, sold under the label Nimmiatures, are hand-sculpted and hand-painted with a keen eye for form and colour. They’re tactile love letters to the natural world, often drawing inspiration from her immediate surroundings in North Goa, where she co-runs a pottery studio with her partner called Mudskippers that also hosts frequent pottery workshops. From the calls of the birds outside her window to long hours spent exploring tidepools, nature is both muse and collaborator for the artist.
Over time, her practice has deepened and gravitated into a more pensive and emotive territory. In her series I ART THOU, her miniatures became a philosophical invitation to rethink our anthropocentric beliefs. A glazed stoneware terranium that merges aquatic creatures with human parts lends itself as a totem of this inquiry.
In January 2021, Nimmy stumbled upon the body of a dead pufferfish on the beach — skeletal, still, and strangely beautiful. That encounter lingered with her. It found its way into clay, becoming a sculpture that memorialised not just the animal, but the fragile, fleeting nature of life itself. It’s this sublime, emotional charge that makes her work resonate so deeply. Her work has been part of group ceramic exhibitions like, Unearthed, and SPACES: Within and Beyond, a showcase of artists from Mudskippers where the line between inner worlds and outer landscapes blurred in clay.
With subtle textures, earthy glazes, and whimsical yet realistic forms, Nimmy’s ceramics quietly nudge us to acknowledge the sentience, mystery, and interconnectedness of all beings.
Follow Nimmy here.
