Well-known Indian sculptor Latika Katt’s (born in1948) eclectic exhibition at Gandhi-King Plaza, India International Centre, Delhi titled Metaphors of the Inner Realm showcased a collection of 57 sculptures, made from marble, terracotta, stone, and bronze. These remarkable sculptures move between large organic forms, some short and some tall, that speak to her search for an inner meaning. The exhibition depicts her inner thoughts, and her trajectory of personal growth. Through her sculptures in different mediums, she has developed a new aesthetic visual language that articulates her ideas on nature and other issues.

The most significant piece is Makar Sankranti Snan an awe aspiring sculpture piece that is imbued with beauty, power, and quiet reflection. Ordinary becomes extraordinary in Katt’s hands as she recreates the Sankranti festival in the Dashashwamedh Ghat. She has incorporated the activities of the ghat from people offering prayers to the sun god while bathing, the priest sitting under a canopy, reciting the scriptures and folks ambling in the breeze. She has the ability to draw the viewer into her experience with a vision that radiates her originality This delightful piece won sculptor Latika Kat an award at the Beijing International Biennale in 2010.

Daughter of a Botanist, the organic world greatly influenced Katt. She has followed the natural cycle of decay and growth observing that decay was inevitable, as the termites collectively ate into wood and created hollow wedges. However, for the artist decay did not only mean the end. It is also heralds the beginning of something new, as she deftly showed in her white marble piece Moving On. She transformed decay into life in her enduring marble creation. Inspired thus, she went on to create other fascinating pieces in different shapes, sizes, and colors to complete the Decay series.

Latika Katt has created a magnificent Banana Tree in bronze and stone. A tall banana tree became her muse as she recreated it in bronze highlighting her unique artistic style — every detail (leaves and other elements) is carefully crafted revealing the artist’s love for nature.

Another highly engaging piece is Breeze and Trees, where Katt has captured the sway of trees as the breeze caresses them, exuding a lyrical quality. They project an extraordinary sense of power, and a rare intimacy of the huddled trees, as she grasps an aerial view from a plane. The distant view gives a new vision to small simple landscapes of Trees and Fields, as she translated pastoral landscapes into highly appealing sculptures.

Her Gandhi head is an outstanding piece of sculpture. With the contours and details of the face muscles, eyebrows, and hair the artist catches an expression that makes the face of the Mahatma come alive. A great admirer of Auguste Rodin, she remembers how he refused to idealise his subjects. “He chose to show his people as he found them, old and wrinkled or young and voluptuous.” Fiercely independent, Katt has a deep sense of her own abilities. Four decades ago, she shook the art world and defied the male stronghold of sculpture by winning a competition to create Nehru’s sculpture that adorns Jawahar Bhawan, New Delhi.

Latika Katt first studied in all boys Doon School in Dehra Dun and later joined the Banaras Hindu University. She graduated with a gold medal and then moved on to Baroda College of Art to pursue her Masters in Sculpture where she acquired a First Class Honours in 1971. She then received the International British Council scholarship Slade School of Art, London University. She taught Sculpture at Jamia Millia Islamia and Banaras Hindu University for many years starting 1981. She also studied from actual dead bodies, at the anatomy department that helped with her portraits and anatomy. Murda of Covid is a dead body in bronze on stone. A victim of covid she shows the plight of the poor daily wageworker. She displays empathy for the unfortunate worker, many of whom lost their lives during the pandemic.

Latika Katt worked on latest terracotta works Form last winter. They were an assimilation of feelings she had over the years. Once gain the insect world became her domain. The lyrical qualities of the black ceramic pieces capture something of the gentleness and calmness with which she imbues some of her sculptures.

Katt is one of the only women sculptors in India who has a foundry and does her own bronze casting. She first learnt all about stone carving and other techniques in sculpture, but later explored and imbibed the Bastar tradition. All along she perfected the technique of metal casting. Her works appear to be a labour of love revealing her passion and commitment for sculpture. It is evident that she mastered her craft at Banaras Hindu University (BHU) and Baroda School of Art, but her imagination and skill took it to another level of perfection.