Garima Mittal: It's Magical Turning an Idea Into Art

Formerly a fashion and textile designer, Garima Mittal launched Facets by Garima to explore her passion for ceramic art objects, tableware and jewellery. “I tried learning wheel throwing on and off for a few years during and after university, but I never imagined myself to be where I am today,” she recounts. “There is something truly magical about having an idea and transforming it into a functional piece of art.”

Crafting pottery provides balm for difficult moments, Mittal adds, so much so that she is interested in pursuing qualifications in art therapy, with clay as her medium of practice. “Working on the wheel or just hand building something helps me calm down whenever I feel anxious,” she explains. “Pottery is a slow process, and no matter how hard you try to rush things, it needs and takes its time. This has made me realise that it’s OK to slow down sometimes and let life happen at its
own pace.”

How does the experience of creating ceramics compare with fashion and textile design?

Textile and fashion is a fast-paced industry with ever-changing seasons and collections. Keeping up with the latest trends is what the industry thrives on, and that sometimes feels restrictive in terms of experimentation. Creating ceramics for me has been an entirely different experience, because it’s not just about the latest trends. There is a lot more freedom to experiment and create something unique. Even though translating your thoughts into objects is a more stressful process in ceramics, I do find it extremely calming and rewarding.

What designs or styles are you fascinated with?

My design interests are global, culturally diverse, and infused with artistic inspiration. I use a lot of historical Aztec-inspired patterns in my pottery, with the help of techniques like sgraffito, carving or resist. Giving Aztec prints my own twist and modifying them for modern times have been the inspiration behind these works. I have always been inspired by those patterns, as I really like the symmetry of it. And in fact I started using Aztec prints in the doodles that I used to make, and I carried it into my pottery, but I use it in a very different way — even if it’s not symmetrical, there will be something geometrical about the piece.

What goes through your mind when you’re in the midst of working on an item?

Whenever I start to work on a piece, there is a mix of emotions and thoughts that run through my head — how is it going to fire, will it turn out the way I imagined it, will it be worth all the effort, and most importantly, what am I going to work on next. But despite this clutter of thoughts, it is still the most calming and energising time of the day for me.

How do ceramics and pottery complement other interests or pursuits of yours?

Currently, working on my brand and taking it to the next level is of the utmost priority for me. However, I do try to touch on important environmental issues that the world is facing through some of my work. I created a collection of ceramics depicting the state of coral reefs around the world and tried to encourage awareness in my own way. The collection was called Where Are All the Colours Gone and it was showcased in a few local exhibitions. This collection is something very close to my heart and I wish to continue to work on such issues in the coming years.

What qualifies as good design to you?

It is anything that represents one’s thoughts and ideas in the most unique and compelling way. It does not necessarily need to be aesthetically pleasing to the eye, but it should always be pleasing to your thoughts.

Photography GAN KAH YING

Art direction GREGORY WOO

Hair and makeup GREGO OH using KEUNE and NARS COSMETICS