UFO Warehouse is the artistic practice of Harmeet Sodhi. The work develops sculpture and installation as active experiences, where form is not simply viewed but encountered through movement, proximity, touch, and sustained attention. Rather than treating sculpture as a fixed object, the practice explores it as a spatial condition that can shape behaviour, invite participation, and alter the way a viewer occupies a space.
 
The work explores animation, toys, and constructed fictional worlds. In animation and games, forms are unstable and capable of transformation, UFO Warehouse uses that same sense of physical instability and possibility to develop sculptures that feel open-ended, ambiguous, and materially alive. where exaggeration, humour, and adventure turn human values and emotions into playful caricatures. Drawing from this language of idealism and fantasy, the practice explores speculative experiences. The emphasis is not on spectacle, but on how form can generate encounter.
 
Play is central part of my practice, as an experience. It is a serious mode of engagement, one that involves improvisation, attention, and participation. It invites audience into the concept of “Ludic Participation” where viewers become active co-creators of the artwork, the work dissolves traditional spectator/artist boundaries. The work asks how sculptural form can create conditions for curiosity, hesitation, repetition, and discovery. In this sense, the audience is not a passive observer but an active participant whose movement and response complete the work. Carsten Höller argues that games create temporary social zones in which unfamiliar or unconventional behaviours become permissible. For Höller, this carries both psychological and political significance, as contemporary society often conditions individuals towards predictability, restraint, and self-consciousness. Similarly, my work investigates how sculptural environments can disrupt these behavioural conventions by encouraging viewers to touch, navigate, and physically interact with forms in ways not typically associated with traditional encounters with art.
 
I have been exploring Play as a sculptural and social practice not only for children but for adults as well. These works are inspired from the history of experimental playground design, immersive and multi-sensory experiences. I am interested in the work of Isamu Noguchi, whose playscapes proposed sculpture as an active environment for exploration rather than a fixed autonomous object. Noguchi described the playground as “a primer of shapes and functions; simple, mysterious, and evocative,” imagining play as a way of engaging directly with form and space. This relationship between abstraction, bodily movement, and open-ended interaction remains central. These are not literal playgrounds become spaces that borrow from the openness, tactility, and shared attention of play. They create situations in which viewers can pause, gather, look closely, and engage physically with objects that are deliberately shaped to encourage a relationship between the body and the work which makes it an experience.
The work investigates how sculptural environments can generate forms of collective experience that operate simultaneously as physical space and speculative fiction. Borrowing from the openness and behavioural possibilities of playgrounds, the sculptures create situations in which viewers move through, gather around, and physically negotiate abstract forms that feel both familiar and unresolved. Through participation the works begin to produce temporary forms of myth-making, imagined worlds, symbolic associations, and collective narratives. This allows the work to move between fiction and materiality, where an object can suggest a larger narrative, a social condition, or a shifting state of mind without fixing any single meaning.
Across the practice, there is a continuing interest in how people relate to shared spaces, how objects shape collective behaviour, and how participation changes the meaning of form.