If I were to receive the £10,000 bursary from the Dover Prize, the funding would be instrumental in advancing my practice and allowing me to experiment with new forms of artistic expression. My primary focus would be on developing large-scale, multi-sensory installations that combine my ceramic practice with sound elements. This will represent a significant evolution in my work, transforming my current sculptures into immersive, interactive environments that engage audiences on both a sensory and intellectual level.
The bursary would be spent in the following key areas:
1. Studio Space & Facilities: Securing a dedicated studio space with ceramic firing facilities would be essential for creating the large-scale sculptures that I envision. This space would enable me to work with the scale, complexity, and materials necessary for these new installations.
2. Materials & Equipment: A portion of the funding would go towards the materials needed for the sculptures, including high-quality clay, glazing, and the necessary tools for large-scale ceramic production. I would also invest in sound equipment to integrate soundscapes into the installations, exploring how sound and ceramics can interact within a space.
3. Post-Study Work Visa: As an international artist, I would use part of the bursary to apply for a Post-Study Work visa to continue my practice in the UK. This visa would allow me to further establish myself within the UK’s artistic community and access opportunities for collaboration, exhibitions, and growth.
4. Research & Development: The remaining funds would be dedicated to traveling, exploring other cities or international venues to gain inspiration, and participating in workshops or collaborations that deepen my understanding of sound and its role in public art.
This bursary will allow me to push the boundaries of my practice and experiment with new materials, approaches, and audience engagement techniques. Ultimately, I hope to create an innovative body of work that invites the public to interact and reflect on the relationship between the natural world, sound, and the materiality of ceramics.
My work, particularly the integration of ceramics and sound in large-scale installations, has the potential to make a significant impact in Darlington by introducing innovative, multi-sensory experiences in public spaces. By creating installations that invite active audience participation, I aim to break down traditional boundaries between art and viewer, encouraging interaction with the environment in a meaningful way. This approach will engage local communities, giving them a direct and personal connection to contemporary art.
Darlington’s rich history and growing cultural scene provide a perfect backdrop for experimental art practices like mine. The public installation of my work will contribute to the diversification of the town’s cultural landscape, encouraging both locals and visitors to experience art in an accessible and immersive manner. Moreover, by using open spaces as the setting for my installations, I aim to attract a broad audience, from families to art enthusiasts, while promoting Darlington as a hub for contemporary art.
Through this project, I hope to not only raise the profile of the creative arts in Darlington but also spark a wider conversation about the role of art in public life and its ability to foster community engagement and dialogue.
am a visual artist specializing in ceramic sculpture, with a practice that explores ideas of cosmic balance, human experience, and interconnectedness. Rooted in Hindu philosophy, my work often reflects the relationship between Purush and Prakriti — the dual forces of the universe — through sculptural forms, predominantly focusing on the female figure as a symbol of creation, nature, and transformation. Over time, my practice has expanded into installation-based works, where I experiment with large-scale ceramics and, increasingly, multi-sensory elements like sound. My interest lies in creating immersive environments that actively engage audiences, encouraging them to reflect on their personal experiences and relationship with the natural and social world. I am currently developing a significant commission with Holden Gallery, creating a vertical installation of 100 terracotta faces representing human interconnectedness, inviting audiences to contemplate the ripple effect of individual actions within society. Alongside this, I was one of the five organizers of SRISHTI, an artist-led group exhibition by MA Fine Art students at Manchester School of Art, which fostered dialogue, experimentation, and collaboration. I also recently exhibited in Seed to the Future, an initiative by the Black and Brown Society of Manchester Metropolitan University, which celebrated cultural narratives and future-facing dialogues through visual art. These platforms have been pivotal in expanding my creative networks and refining my approach to socially engaged art. Additionally, I have been awarded a fully funded associate membership at Castlefield Gallery, which includes a one-year artist development programme. This opportunity is helping me further experiment with new materials, develop my installation work, and explore how public interaction can become a central part of my practice. My work continues to evolve towards creating accessible, immersive, and meaningful public art experiences that challenge conventional modes of viewing and invite shared reflection.
I completed my BFA from The Indian College Of Arts and Draftsmanship, Kolkata, India specialising in clay modelling and sculpture in 2022. Currently I’m pursuing MA fine art from The Manchester School of art. I’ll be graduating in September 2025. My practice is fully focused on ceramics.
Yes — I have actively been involved in organising artist-led initiatives and exhibitions that create professional opportunities not only for myself but also for my peers. Most notably, I was one of the five organisers of SRISHTI, an artist-led exhibition by MA Fine Art students at Manchester School of Art. This exhibition provided a platform for emerging artists to showcase their work, exchange ideas, and engage in critical dialogue outside the conventional academic structure. It also allowed us to independently manage all aspects of exhibition planning, from curating and installation to promotion and public engagement.
Additionally, my participation in exhibitions like Seed to the Future, organised by the Black and Brown Society of Manchester Metropolitan University, contributed to creating spaces where diverse voices and cultural narratives could be shared, celebrated, and connected to future-facing conversations in contemporary art.
These experiences have been pivotal in shaping my understanding of the importance of artist-led initiatives. They have also allowed me to develop leadership, curatorial, and collaborative skills — qualities that continue to inform my commitment to building inclusive, experimental, and community-focused art environments.
Yes — I am currently working on a commissioned project for the CHEAD Conference hosted by Manchester Metropolitan University, a public institution committed to supporting contemporary arts and creative education. The project involves creating a large-scale, site-specific ceramic installation titled Choices, Mistakes and Regrets, which will be exhibited within a 200-year-old building on the university campus.
For this work, I am producing 100 terracotta faces, each representing individual experiences and interconnected human narratives. The installation reflects on how personal decisions — whether conscious or accidental — shape our lives and ripple through communities and history. The faces will be suspended throughout the space, inviting audiences to physically and emotionally engage with the work as they move within it.
This commission has given me the opportunity to produce work for a public audience in a historic venue, while collaborating with the university’s curatorial and event teams. It has also enabled me to experiment with large-scale production, site-responsive installation, and public engagement strategies. The experience is proving pivotal in my transition toward creating ambitious, participatory works for public and open spaces.
Not yet — but my work has been included in exhibition showcases such as **SRISHTI** and **Seed to the Future**, and I am currently building visibility through public commissions and my associate membership at **Castlefield Gallery**. I am actively working toward features in online curated platforms and art publications.
No, I am not currently represented by a gallery. However, I hold a fully funded associate membership at Castlefield Gallery, Manchester, which includes a year-long artist development programme. This has offered valuable mentoring, networking, and professional opportunities to support my growth as an emerging artist. While formal representation is a future aim, I am currently focused on developing my independent, installation-based practice and pursuing opportunities through public commissions, artist-led projects, and open calls like The New Contemporaries , Fresh by British Ceramics Biennale.
Not yet — but I am actively seeking opportunities for residencies and artist placement schemes in the UK and internationally. I believe such experiences would greatly benefit my practice, offering time, space, and new contexts to experiment with large-scale, participatory installations and foster meaningful community engagement.
Email: ronbhowmick.15@gmail.com
Address: 138, Derbyshire Lane, Stretford, Manchester, All shifts, M32 8DU, GB
Local Authority: Trafford Council
