The 2026 sā Ladakh Biennale takes place over eight sights between Leh and Kargil in Ladakh, India. The Biennale has a strong emphasis on regeneration, making viewers question the impact of contemporary art on the environment. Ladakhi and international artists will exhibit their work outdoors, outside the ‘white cube’ space which is common of most biennales.
Shupiwe’s installation for the 2026 sā Ladakh Biennale takes place in the village of Likir, east of Leh at 3700m above sea level. Ceramics and artistry are deeply rooted into the fabric of Likir. The people of Likir have been collecting and processing their own clay to create Ladakhi pottery for centuries. These skills have been passed down through generations, remaining a strong and integral part of the community today.
Shupiwe’s installation for sā 2026 pays respect to the incredible Ladakhi potters who continue to keep this tradition alive. Her work responds to the connection between traditional craft, culture, and landscape. By exploring traditional pottery techniques, working with locally sourced clay, and lamenting on her own family’s connection to pottery she aims to bring the simple notion of the ‘vessel’ to life.
Working within this remote, high-altitude environment has shifted her practice. Turning away from a reliance on store-bought clay and electric firing processes to embrace the landscape itself, allowing the desert-like conditions and local agricultural processes to shape the work.
Shupiwe speculates that over time, plastic and metal have replaced ceramic leading to the vessel losing its reverence. She believes that often our fast-paced lives limit us from noticing the beauty round us. For us, it is often not the vessel itself, which is valued, but the negative space it holds.
Shupiwe’s vessels instead will be held by the natural world in which they exist, until they eventually return to the land from which they came. The work invites viewers to witness the effect of the elements on these forms - their growth, decay, and evolution over time. These vessels will exist amongst the village of Likir, being shaped by the elements just as the Ladakhi people have for thousands of years.
Shupiwe’s work also aims to challenge the imaginary line that separates art and craft. By choosing to highlight the simple vessel form within a contemporary art instillation, Shupiwe hopes to bridge the gap between art and craftsmanship.
Visitors are invited to walk amongst the vessel strewn landscape, each pot challenging the person to mind their step, shift their balance and adjust their body to the will of these natural forms. The vessels serve as a reminder to protect the environment that holds us; the earth, skies and waterways that shape us. A signal to not take them for granted.
This instillation would not be possible without the guidance and knowledge of Ladakhi potters Rigzen Namgail and Lamchung Tsepal of Likir Pottery.
Visitors to the sā are encouraged to contact the Likir Pottery Studio to book a workshop and learn about traditional Ladakhi pottery.
More information can be found on the sā Ladakh website
Shupiwe’s installation for the 2026 sā Ladakh Biennale takes place in the village of Likir, east of Leh at 3700m above sea level. Ceramics and artistry are deeply rooted into the fabric of Likir. The people of Likir have been collecting and processing their own clay to create Ladakhi pottery for centuries. These skills have been passed down through generations, remaining a strong and integral part of the community today.
Shupiwe’s installation for sā 2026 pays respect to the incredible Ladakhi potters who continue to keep this tradition alive. Her work responds to the connection between traditional craft, culture, and landscape. By exploring traditional pottery techniques, working with locally sourced clay, and lamenting on her own family’s connection to pottery she aims to bring the simple notion of the ‘vessel’ to life.
Working within this remote, high-altitude environment has shifted her practice. Turning away from a reliance on store-bought clay and electric firing processes to embrace the landscape itself, allowing the desert-like conditions and local agricultural processes to shape the work.
Shupiwe speculates that over time, plastic and metal have replaced ceramic leading to the vessel losing its reverence. She believes that often our fast-paced lives limit us from noticing the beauty round us. For us, it is often not the vessel itself, which is valued, but the negative space it holds.
Shupiwe’s vessels instead will be held by the natural world in which they exist, until they eventually return to the land from which they came. The work invites viewers to witness the effect of the elements on these forms - their growth, decay, and evolution over time. These vessels will exist amongst the village of Likir, being shaped by the elements just as the Ladakhi people have for thousands of years.
Shupiwe’s work also aims to challenge the imaginary line that separates art and craft. By choosing to highlight the simple vessel form within a contemporary art instillation, Shupiwe hopes to bridge the gap between art and craftsmanship.
Visitors are invited to walk amongst the vessel strewn landscape, each pot challenging the person to mind their step, shift their balance and adjust their body to the will of these natural forms. The vessels serve as a reminder to protect the environment that holds us; the earth, skies and waterways that shape us. A signal to not take them for granted.
This instillation would not be possible without the guidance and knowledge of Ladakhi potters Rigzen Namgail and Lamchung Tsepal of Likir Pottery.
Visitors to the sā are encouraged to contact the Likir Pottery Studio to book a workshop and learn about traditional Ladakhi pottery.
More information can be found on the sā Ladakh website