Through her practice, Nirmohee sculpts objects that capture her ever evolving surroundings, letting play translate and process emotions that arise from these movements.
Here is a repository of Nemo's past explorations, work, and exhibits in her own words.
Finger Flowers (2025)
Installation of one large shrub (19x18x11inches) and multiple smaller individual flowers.
Stoneware, mason stain and glaze
Fired to Cone 6
Finger flowers are a series of small coils pinched together to make corally/florally forms. Composed of many fingerprints that build their texture, they are reminiscent of childhood days of finger painting and making a mess.
They are silly like me, and a little bit uncomfortable with all their tongue like stamen ready to lick you.
Spring has returned to me after a really long time. It feels incredible to be embraced by the tropics.
Netted (2024)
Installation of 13 vessels
Terracotta, stoneware, speckled clay, glaze, underglaze, mason stain, and luster
Fired to Cone 6 and Cone 019
A series of vessels weaved with small coils and the negative space they create between each one of them. Equal parts clay and air. These forms do not possess the ability to contain much more than light, but their silhouettes mimic those of traditional vessel forms.
The fingerprint has become a symbol through this technique, a reference to the action of creating, a trace of the maker. What does it mean to fossilize an impression, a swift motion, a small pinch? What does it mean to convey touch as a visual experience?
I coil, cut, roll into little balls and pinch together. Each joint is held only by a memory of my fingers. The same movement repeated, the pinch becoming muscle memory.
Shrine (2025)
Two hundred and fifty stoneware tiles, black clay nets, stoneware netted vessels, glaze, luster, plywood, tile adhesive, two gallons of grout.
Fired to Cone 6 and Cone 019
A patina green, a fluid opaque glaze that transitions between rust and blue, a yellowing white, and a dark copper. The glaze pools and fluxes, highlighting the texture of the fingerprint. Black clay spirals that mimic the netted vessel technique in a tile form. The netted vessel glazed with the same combination used for the tiles, an added accent of gold luster to venerate it and convey that it is not a part of the platform, but the object that resides atop.
Aimed towards unifying my tile making practice with the netted vessel technique, this work proved to be an opportunity to understand the same gesture—that of my fingerprint—through multiple formats.
A work intended to convey the desire to grasp the divine—to rise, to elevate, to revere. Seeking alignment through repetitive processes, the making of this work has been an extended meditation.
Sink or Swim (2024)
Installation of 80 tiles
96x36x14inches
Colored porcelain, stoneware, stain, speckled clay, casting slip,
mason stain,underglaze, luster and acrylic paint
Fired to Cone 6
Topographical maps and bathymetric maps essentially do the same thing in opposing directions. While one tracks height through lines, the other defines depth through color. And, at the end they both become a flat surface.
I made four plaster molds that formed a looping pattern. Inspired by a three-dimensional translation of a topographical map of a non-existent location, the tiles fluxed into fluid with variations of blue ceramic surfaces.
The molds became a way to experiment with numerous ways of ceramic production such as press-molding and slip casting. I wanted to make so many as to build a river of tiles with the hills and valleys.
At the end though it became simply a study of the color blue. Glaze, underglaze, slip, mason stain, oxides, and even non-ceramic blue pigments and acrylic paints. The tiles slipped into becoming a pattern, and an obsession started flickering with just how many possible varieties could be borne out of just these four molds.
