Aggarwal is part of a growing number of Adelaide artists embracing jewellery as a means to make accessible, small-scale versions of her work. “I wanted to make a version of the pots that was wearable,” she says of her first forays into ceramic earrings.
“That’s why I went with this vase shape – they’re just quite an elegant, easy shape for anyone to wear. My first prototypes were mostly kinds of different leaves, but were so heavy. It took a bit of refining; I always messed around with making jewellery as a kid, but never thought to make it out of clay before now.”
While her makeshift outdoor studio has its limitations
(“Last summer I was trying to throw on a 45 degree day, but it was hard to know
what was sweat and what was water from the clay,” she admits), the blurred
lines between Aggarwal’s work and home space has afforded her the flexibility
to continue to feel her way to the next phase of her practice.
“I feel like my work is entirely mood-based; it tends
to dictate when I pick the colours. That’s why I have so many designs too – I’m
no good at restricting myself,” she says, looking over the sea of unpainted
pieces that cover a dining room table that evidently sees a lot more clay than
Like any good millennial, she sheepishly admits her botanical fixation has its roots in the generation’s obsession with houseplants. This, perhaps, helps explain how her designs have found such an enthusiastic audience.
Her work does have one important advantage over plant varieties whose Instagram clout is proportionate to their mortality rate. “You can’t kill them,” she laughs.
vibe – plants you can’t kill!”