Ranjani Shettar says that she turned from painting to sculpture because “I realized I had to move around the object, it had to occupy the same space that I did and there was no illusion in it. Although I was little equipped for it, I knew that was what I wanted.” That conceptual shift set the tone for her ethereal but monumental installations combining natural and industrial materials and modern and traditional methods…see the entire article in the print version of January/February’s Sculpture magazine.
