I make bonsai pots that reflect the same principles I see in the trees they hold: resilience, imperfection, balance, and evolution over time.

My interest in ceramics began as a process of experimentation — learning the materials, pushing glaze interactions, testing structural limits. Early pieces carry evidence of that exploration: sharp lines, geometric forms, raw surfaces, and a focus on testing the limits of the material. Over time, my focus has sharpened toward proportion, refinement, and the deliberate use of imperfection as an expressive tool.

I do not aim for sterile perfection. I aim for pots that support and harmonize with the tree, that carry the quiet presence of the maker’s hand, and that embrace the living tension between tradition and individuality.

Making ceramic pots is a deliberate labor of love, resulting in the indestructible transformation of clay into a form that will enter the fossil record. Each pot takes months to complete, with multiple points along the way where failure is possible. For these reasons, every completed design is one I judged worthy of making. It reflects a deliberate process, a choice, and a respect for its ultimate use in the craft — never mass-produced, never empty decoration.

Maker,

Harshad Ghodke