The newest addition to Katki’s visual language is a three-dimensional vernacular that may seem a drastic departure from his formally painted or embroidered two-dimensional works, often dealing with soft materialities and installation modes. However, when one views these works from afar, it becomes evident how and why the artist has ventured into the area of earth-based forms. Kaolinite clay, as a material sourced and processed from the earth’s crust, is one of the most charged cultural markers of geographic locationality; thus, land, which is directly connected to, is till today one of the most disputed earthly resources. Katki’s fascination with archaeology and materials from the quotidian, often found and restored, has seen him venture into this arena of excavation and restoration. Archaeology, however, is a practice that has been put under scrutiny by the artist in various past iterations of the artist's work.

Eight Vessels is a series of ceramic experiments that reference Bronze Age findings from Teppeh Sialk around the Kashan province of present-day Iran that Katki visited in 2018. These were experimental works that attempted to use rudimentary hand-building (pinching and coiling) techniques practiced around the 3rd millennium BC, while also employing more contemporary vernaculars of partially glazing and vitrifying the works at much higher-temperatures. There’s an implicit tension suggested by these objects, between the reimagined historic forms and that of a postmodern material treatment where the insides of the vessels are partially drip-glazed using a clear silica solution.