In Eeshaan Kashyap’s PLAY, Objects Do Speak

Objects and utility collide in a choreographed chaos of table settings. The cabbage, artichoke, beans and sponge gourd—rendered in glazed stoneware clay, luscious and witty—seem almost obscene. Those shiny bonbons? Made of clay, not chocolate. Jagged, lumpen pots flirt with anti-form. A still life must conjoin absence and presence: the unseen hand that arranged tulips in large porcelain funnels; cut-outs of two male ballet dancers floating atop a candlestick; a matka, continuing his 'Modern Matka' series, sprouting two pairs of breasts. That chipped vase might bear witness to turmoil; those stained plates have heard it all.

Blending Theatre With Design And Functionality

If these objects could talk, what stories would they tell? “They’d speak of unapologetic colour, embracing imperfection, and daring to mix bold elements with fearless pairings,” says Eeshaan Kashyap, the New Delhi-based multidisciplinary artist, chef, and all-around restless creator.
 
After two celebrated shows, Kashyap—never without his signature hat—returns to The Stands at Mumbai’s Wankhede Stadium with PLAY, running March 5 to 9. “Tablescaping isn’t about symmetry,” he says. “It’s where art, design, architecture, food, drink, dance, poetry and life come together. It’s where people gather, connect, and immerse themselves in the stories between.”
 
Once again, Kashyap is messing up the symmetry of modern displays, breaking curatorial etiquette and ensuring no object is confined to square alignment. These pieces don’t belong beside marble, gold, or Swarovski crystals. Instead, they thrive in eclectic, energetic spaces where order is secondary, with each piece standing as a character—tableware, vases, candlesticks, chairs, lights, and wall art—all in conversation. 

Into His Playgrounds, Places To Explore

The exhibition unfolds across three “playgrounds”, each offering a different, heady experience. Kashyap recalls a turning point in his creative process. “Each time I showed people the meticulously crafted pieces alongside experimental ones, they’d say, ‘Why not be a crackpot and show crackpots in a way that forms a narrative? That idea excited me to experiment with the unusual and divide the space into three parts.”
 
And so, the journey begins.

 The first section, 'Surreal Play', invites viewers into a dreamlike world. “For the first time, I’m presenting table jewellery—large tables adorned with lab-grown crystals and semi-precious stones arranged in unexpected ways. It’s opulent and decadent, with fabric totems scattered throughout,” explains Kashyap.
This section also features mid-19th-century Lawon textiles from Palembang, South Sumatra, crafted using the intricate tritik (sew and dye) technique. These ceremonial silk scarves shimmer with deep, iridescent hues, framed by serrated borders and merging colours that evoke Rothko-like luminosity.

From here, we move to Tonal, Tactile, Terrific, where Kashyap celebrates the textural beauty of materials and surfaces. "In both my food and design, I aim to surprise. This section is about that moment of discovery—when things aren’t as they seem," says Kashyap. His cheeky take on everyday vegetables exemplifies this. "Bandh gobi (cabbage) is boring, right? But we experimented with it, along with jackfruit, okra, aubergine, and sponge gourd creating quirky ceramic sets."

I love bashing, punching, and shaping. While the team works the wheel, I add my touch. We hand-built the cabbage piece, pinching the edges to mimic leaves. But once it’s in the kiln, it’s out of your hands. If it breaks, it breaks. It’s the same philosophy I apply in food—embracing imperfection

 Though Kashyap doesn’t make pottery, he enjoys getting involved in the process. “I love bashing, punching, and shaping. While the team works the wheel, I add my touch. We hand-built the cabbage piece, pinching the edges to mimic leaves. But once it’s in the kiln, it’s out of your hands. If it breaks, it breaks. It’s the same philosophy I apply in food—embracing imperfection. Of five, only two cabbages survived—a lesson in balancing control and letting go,” he adds.
Kashyap is also working with ice sculptures—vases and candle stands that literally melt away, appreciating the fleeting beauty in their impermanence.
 
'Memory Play', the final section, contrasts modern design with traditional Kalamkari textiles from Sickenaikenpet, Tamil Nadu. Reimagined in madder red, black, and amber, these hand-painted pieces are presented as tablecloths, dinner mats, and wall art, letting their jigsaw-like patterns speak with quiet intensity.
 

Beyond Art: Functional, Playful and Ready to Use 

What began as a showcase for ‘Tablescape by Eeshan,’ a tableware brand launched in 2022, has since evolved into a larger narrative—one that intertwines art, design, and sculpture, extending far beyond the table. Kashyap shares, "We’re working on a digital platform with everyday objects and developing limited edition pieces, and collaborations." And then there’s the concept of “table theatre”—objects that transform and interact, becoming part of a constantly changing design scene.
 
Though his work may resemble art, Kashyap is quick to clarify: “I don’t see these as art pieces. They’re meant to be functional, decorative objects that you use.” Labelling them “art”, he believes, changes the entire experience. His creations are not for admiration from afar—they’re meant to be lived with, whether on a dining table, in the bedroom, or wherever a touch of playfulness is needed."  
Ultimately, for Kashyap, it all comes back to the table. "Everything happens around the table," he says, "but these pieces are all about celebrating playfulness and finding beauty in flaws."

'PLAY' by Eeshaan Kashyap will be on display at The Stands at Wankhede Stadium, Mumbai, from March 5-9, 2025