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Antra Final Thesis Project 2017 (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka
THESIS PROJECT 2017 WHIM-WHAM STUDENT:
ANTRA
PROJECT:
Art In Transit
SPONSOR:
Hermann Miller
PROGRAM:
Undergraduate Professional Programme
AWARD:
Information Arts and Information Design Practice
GUIDES:
Amitabh Kumar, Sandeep Ashwath, Sai Mulpuru
Copyrights 2016-2017 Student Document Publication (for private circulation only) All Rights Reserved Final Thesis Project (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, scanning, photography and video recording without written permission from the publishers namely Antra and Srishti Institute of Art, Design and Technology, Bangalore. Written, edited and designed by Antra Printed at Naveen Printers, Yelahanka New Town, Bangalore
INTELLECTUAL PROPERTY AND PLAGIARISM STATEMENT I, Antra, hereby declare that the content of this student documentation and final design/artwork submission is my own original work and has not been plagiarised in full or part from previously published/designed/manufactured material or does not even contain substantial propositions of content which have been accepted for an award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this thesis project. I also declare that the intellectual content of this Thesis Project is my own original work, except to the extent that assistance from others in the project’s design and conception or in style and presentation is acknowledged and that this thesis project (or part of it) will not be submitted as assessed work in any other academic course.
COPYRIGHT STATEMENT I, Antra, hereby grant Srishti Institute of Art, Design and Technology the right to archive and to make available my Thesis Project in whole or in part in the institute’s databank and website, and for non-commercial use in all forms of media, now and hereafter known, subject to the provisions of the Copyright Act.
Name: Signature: Date:
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“It is very good advice to believe only what an artist does, rather than what he says about his work.” BRIEF: To celebrate visuality and the incredible power of images that is capable of transforming a space and the mood it inhabits. To try to create a space, which allows for visuals to stand alone without being weighed down by concept or context. By saying this, I am, in no way, diminishing the art that stems from or responds to a certain context or concept. I feel an image deserves its due and its individual existence needs to be recognized and respected. When I look at an image, my first instinct is not to try to decode the meaning behind it; in fact, I tend to enjoy the colours, lines and other visual elements before I go onto meaning making. A lot of times, I feel that reading too much into an image kills the joy of rejoicing in it. I believe that an idea is enough to transform into a visual; conceptualization is not necessarily a predecessor to image making. It can work for some while for others, a more impulsive approach works. Raymond Lemstra, a Dutch artist puts this beautifully, “They (images) come to existence intuitively, and demand for a context once they exist. I do not conceptualize much. To work with a well thought out plan just kills the joy of executing it.” I like how hand painted advertisements on walls do not require one to unravel the meaning behind the images; the intent is clear and effective – to grab attention and not get lost in a buzzing, crowded marketplace, and convey what the product stands for in the most basic way. Hand-done hoardings of astrologers, roadside dentists and bonesetters have always caught my eye. Their renditions are not anatomically accurate and this crude appeal is what makes them pop from other things in their surroundings. Their application of colour is interesting as there is no hesitation in using loud and highly saturated colours; there is no holding back. In spite of employing bold and raw visual elements, these adverts are not visually imbalanced.
In fact, they make for great images. At the same time, they are representing strange professions – it is absurd (and dangerous) to get teeth fixed on the roadside. This lends a slightly eccentric element to these adverts, which I, personally, find very intriguing. As a visual artist, I like to work with multiplicity and variety. I like to draw things that are visually complex and form dense and heavy compositions. Density facilitates in creating warmth and closeness. However, it can also sometimes create claustrophobia, which again evokes a strong reaction from the viewer. The idea is to make the person at the receiving end feel the effect; an effect. It is to make sure that there is a response from the audience and the image does not get lost and go unnoted. Old faces, wrinkles, lots of detail – all these enable me to engage in the labour of replicating them in my own way. The after feeling of labour, which comes after ‘making’, is a motivating factor for producing work. Recently, I have been gravitating towards images that are absurd and not bound by logic. When something from outside is placed in a new setting, it lends playfulness and makes the image light-hearted in a way that everyone can access it no matter where they are coming from as all of them are equally detached (and attached) from the idea. It is alien. For this, I tend to lean towards employing the facility of juxtaposition in image making as it allows me to keep totally unrelated objects together and create something new. It is like a collage in the way I interact with content, not as a medium to convey the content. In this whole practice of trying to create a space where images are self sufficient on their own, I intend to find my ground – my influences and motivations. I hope to locate the underpinning for my work. I want to explore answers to questions around the awareness of where every artist comes from as well as exploring various other approaches to image making apart from the ones I am already familiar with. This will involve studying their work and trying to understand their processes, themes, and
motivations. Even though I feel that delving too much into the work of an artist might feel constricting, I am ready to give it a try. RESEARCH QUESTIONS -
Why is the ‘why’ important?
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How is the process of making without questioning wrong? Is it even wrong?
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Can decontextualizing be an approach to image making?
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Where does impulse come from? It definitely comes from certain influences that we engage with on a daily basis but can we/ should we make a conscious effort to guide impulse?
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How important is it to study the work of other artists?
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Is it necessary to be aware of where you are coming from?
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Can non-adherence to the above two lead to stagnancy?
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Visceral approach v/s intellectual approach in image making
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What are the different ways of creating density and volume in work?
Final Thesis Project | Antra
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Acknowledgements I would like to thank my facilitators, Mr. Amitabh Kumar, Mr. Sandeep Ashwath and Sai Mulpuru for giving me immense freedom and feedback throughout the course. My heartiest thank you to Tanya Singh, Saksham Verma, Sagu, Prathmi Mehta and Madhav Nair for their constant encouragement as well as to Pragya Kanoria, Sujat Roy, Rutwij Paranjape, Aaina Amin, and Siddhant Shetty for being so enthusiastic in helping me whenever I needed help.
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Contents
About Author
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Emerging Themes
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Class Assignments
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Postponing the ‘why’?
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Visualizing sound
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Warming Up
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Intervention #1
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Lost&Found
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Screenprinting
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Exhaustion & Labour
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Final Prints
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Coming up with the entire series
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Going outside the metro station
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Final Prints
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Poster Pasting in the city
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Intervention #2
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Levitating Gorillas
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Intervention #1.5
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Selling Merchandise
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Intervention #3
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Packaging Goods
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About Author
I believe that an idea is enough to transform into a visual;
Old faces, wrinkles, lots of detail – all these enable me to
conceptualization is not necessarily a predecessor to
engage in the labour of replicating them in my own way.
image making. It can work for some while for others, a
The after feeling of labour, which comes after ‘making’,
more impulsive approach works. Raymond Lemstra, a
is a motivating factor for producing work. Exhaustion at
Dutch artist puts this beautifully, “They (images) come
the end of the day gives me a sense of accomplishment
to existence intuitively, and demand for a context once
and fulfillment. As a direct implication of this, my process
they exist. I do not conceptualize much. To work with a
is largely focused on making and learning by making.
well thought out plan just kills the joy of executing it.” Similar to Raymond, I feel that thinking too much before
Recently, I have been gravitating towards images that are
initiating the image robs it of all fun and turns it into a
whimsical and not bound by logic. When something from
chore. Impulse plays a significant role in my process of
outside is placed in a new setting, it lends playfulness and
making. It is the compulsion to do something or draw
makes the image light-hearted in a way that everyone
something that initiates and then fuels my practice.
can access it no matter where they are coming from as
I can respond to context, if there is one but at the same
all of them are equally detached (and attached) from
time, I also enjoy the freedom to move away from the
the idea. It is alien.
context at some point while making. In this whole practice of trying to create a space where As a visual artist, I like to work with multiplicity and
images are self sufficient on their own, I intend to find
variety. I like to draw things that are visually complex and
my ground – my influences and motivations. I hope to
form dense and heavy compositions. Density facilitates
locate the underpinning for my work. Maybe, I want to
in creating warmth and closeness. However, it can also
explore answers to questions around the awareness of
sometimes create claustrophobia, which again evokes a
where I, as an artist, come from as well as look at other
strong reaction from the viewer. The idea is to make the
processes to image making. However, I do believe in
person at the receiving end feel the effect; an effect. It is
letting it happen naturally where it is not rushed into or
to make sure that there is a response from the audience
forced upon.
and the image does not get lost and go unnoted.
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Final Thesis Project | Antra
When I look at an image, my first instinct is not to try to decode the meaning behind it; in fact, I tend to enjoy the colours, lines and other visual elements before I go onto meaning making. A lot of times, I feel that reading too much into an image kills the joy of rejoicing in it. I like how hand painted advertisements on walls do not require one to unravel the meaning behind the images; the intent is clear and effective – to grab attention and not get lost in a buzzing, crowded marketplace, and convey what the product stands for in the most basic way. Hand-done hoardings of astrologers, roadside dentists and bonesetters have always caught my eye. Their renditions are not anatomically accurate and this crude appeal is what makes them pop from other things in their surroundings. Their application of colour is interesting as there is no hesitation in using loud and highly saturated colours; there is no holding back. In spite of employing bold and raw visual elements, these adverts are not visually imbalanced. In fact, they make for great images. At the same time, they are representing strange professions – it is absurd (and dangerous) to get teeth fixed on the roadside. This lends a slightly eccentric element to these adverts, which I, personally, find very intriguing.
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Image Courtesy : https://www.instagram.com/theprintedpeanut/
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Final Thesis Project | Antra
Emerging themes Even though I feel I have to do a lot more work in order to understand what inspires me and where I am inclined, a skeleton pattern seems to thread my work together. This includes playfulness, departure from logic and bringing something unexpected to the space. I like to introduce random objects into new contexts. It’s a lot of fun to confuse and baffle people. It is a powerful response, I believe. When one’s curiousity is tickled, they tend to engage more with the artefact because they try to find an answer and that ensures active participation.If not anything, it manages to capture their attention and bring itself to notice. After all, any kind of publicity is good publicity.
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“It is very good advice to believe only what an artist does, rather than what he says about his work.� David Hockney
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Class Assignments
Assignment #1 Postponing the ‘why?’ The brief was to come up with something, anything and not question ‘why?’. It was allowed to facilitate fluidity in the flowing of creative juices and not become obstructions in the passage of thoughts. I remember feeling liberated and relieved in pursuing this process as it allowed immense freedom and meant I did not have to halt and check if my ideas were fitting the bill as there was no bill to fit! However, I also found this freedom to be daunting as it is hard to find the point of origin of ideas in the event of limitless freedom as there is no stimuli to respond to.
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Final Thesis Project | Antra
Assignment #2 Visualizing Sound After collecting sounds from the area around Cubbon Park, these sounds were to be translated into visuals and again, the process of not asking ‘why?’ was observed. On listening to the sound clips for the second or third time, I started getting a sense of being inside the digestive system of an organism. I could imagine myself going through an esophagus which had tentacles and then through a slicing/chopping machine and other things that you would find in a Roald Dahl book. I enjoyed this exercise much more than the first one as there was some prompting from the sonic material – the outset of an idea was already suggested.
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Different stages of digestion as visualized on listening to the sounds
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Man with chopped finger; painted on 9’x 3’ chalkboard
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Warming up My first visit to the station did not evoke much feeling. I wanted to inhabit the space and see what I could engage with upon spending time. I chose the spot where people spent their time waiting for the train on the platform. The platform was swarming with guards who whistled every few minutes because a commuter would cross the forbidden yellow line. So, I decided to paint a person with the head chopped off, which came about as a result of lack of space on the board. I started off directly with paint – no chalking or pencil drawing. I did not fix on any idea before starting; I began intuitively. Upon finishing the piece, a lot of people were reacting by saying the man resembled the guards and his attire looked similar to their uniform. However, some of them were getting agitated by the chopped finger and head. The idea behind chopping the finger came from an attempt to explore the concept of losing or missing something.
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Intervention
#1
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The idea of ‘Lost & Found’ germinated from a bigger idea
awareness about it gives us access to its knowledge but
of wanting to propagate false news in the metro station.
there is no consensus on what absurd is. It can mean
The intention behind this bigger idea was to arouse the
numerous things for numerous people. Moreover, their is
curiosity of the commuters so that their engagement
no pressure to decrypt the consumerable or worry about
with the station would not be so disembodied, stiff
not getting what it is trying to say. In fact, it is this that
and mechanical. The thought of extracting a reaction
mystifies the work even more and as a result, should be
by the introduction of contrast seemed attractive –
instrumental in tickling the curiosity of the commuters.
contrast in terms of the content they will be engaging with. In other worlds, taking certain objects, beings and
For a long time, I was unable to locate the reason behind
ideas and placing them in absurd scenarios. Absurdity
wanting to make posters informing the public of the
allows an equal and fair chance to everyone to interact
metro station about bizarre ideas and things that were
with the consumerable.*** This is because everyone
lost and/or found. Being an enclosed space, the metro
is equally attached to and detached from it. There is
station is a space where the lose and discovery of things
one universal meaning of things that the privilege of
is a common occurrence.
***In retrospect and after more reflection, I realize that absurdity is not the most appropriate term for the content of my images; they are closer to whimsical. 31
Final Thesis Project | Antra
Screenprinting I have always liked how screenprinted illustrations look
and faced difficulties with the process in the beginning.
raw and retain the vibrancy of colours which gets garbled
The flouroscent pigment is thick and unfriendly in
on printing in CMYK. I have had an affinity towards these
consistency which was blocking the mesh after every
poppy colours which can be obtained by screenprinting.
2-3 prints. It was drying up on the mesh in no time and
At the same time, I was also looking at producing the
screenprinting being a tedious process anyway; it was
posters in bulk so that they could take over the station
possible to print only 30 copies in a day. However,
in multiple locations. Hence, screenprinting was the way
once I became accustomed to the procedure, I started
to go and I started screenprinting the posters in college.
enjoyed the exhaustion that followed the day’s labour.
I was trying my hand at screenprinting for the first time
A screen tears while printing
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(From Top Left clockwise) Exposed screens ready for printing, trying out patterns in text, in-process images after printing from two screens
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Exhaustion & Labour The process of screenprinting demands exactness and attention to detail in the completion of its many steps. There is a sequence that needs to observed and the amount of time being spent on things respected. All of this involves manual, physical labour. At the end of the day, it is satisfying to know that the target to print a certain number is met and the exhaustion that follows is extremely rewarding. To be exhausted at the end of the day is an indication of a productive day. It is to experience the finality that follows resolution and/or completion which becomes the motivating factor to produce work.
Experimenting while screenprinting, an iteration of ‘Lost Identity’
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‘Lost Manners’
Lost manners? In the initial series, there was a set of posters called ‘Lost Manners’ which used the imagery of the middle finger. However, it was found to be inappropriate for a public space like the metro station. As a result, it was decided to not display it but I have still not found the right place for it! I did have my apprehensions about this particular poster because of its controversial content but I still printed it as I wanted to see if it would be permitted in a space like the metro station. After all, the best way to know if something is working or not is to do it.
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Preparing files for screenprinting
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Final Prints
‘Lost Perspective’, A3
‘Lost Voice’, A3
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‘Lost Identity’, A3
‘Lost Manners’, A3
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Coming up with the entire series Even though I was enjoying the process of screenprinting, it was time-consuming and tedious. I decided to focus on the content of the images and outsource screenprinting to a local vendor. This involved going around scrounging for vendors, comparing prices and bargaining before finally fixing on a screenprinter. As opposed to my former belief, it still remained a task even though I did not have to screenprint it myself as I still had to chase the vendor and persuade him to finish the prints on time. I decided to do a series of 7 lost posters and 7 corresponding found posters.
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Preparing files for screenprinting
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Preparing files for screenprinting
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Preparing files for screenprinting
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Going outside the Metro Station
Kannada Text
I decided to go outside the metro station as
After considerable resistance, I agreed to including
it has a much wider audience and I could choose spaces
Kannada text along with English as well. My initial
that allowed greater interaction from the public. The
resistance came out of not being able to understand
metro station hosts a limited viewership and there is
how the inclusion of Kannada would increase accessibility
lesser visibility for the posters as it is an enclosed space
as I was under the impression that English was equally
as well. I wanted the posters to inhabit the real streets
understood by the people of Bangalore. However, it was
and spaces where people take to walking so that there
during my many, many interactions with the screenprinter
is enough time and inclination to invest in the posters
that I realized that there are a lot of people who only
on side. Moreover, these spaces become more exciting
know Kannada or very basic English. Having English text
as the Lost&Found posters start appearing in the places
alone would mean shutting them out. I realized that they
where one would actually expect to see them but this is
deserve an equal chance to visit the ideas advertised
only till one realizes that they are speaking of whimsical
in the posters.
ideas that are a departure from true content of these posters thereby, putting the whole unexpected theme into perspective as well.
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Preparing files for screenprinting
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Final Thesis Project | Antra
Final Prints
‘Lost Voice’, A3
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‘Found Noise’, A3
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‘Lost Identity’, A3
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‘Found Refuge’, A3
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‘Lost Perspective’, A3
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‘Found Food For Thought’, A3
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‘Lost Lizard’, A3
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‘Found Alligator’, A3
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‘Lost a slice of Italy’, A3
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‘Found Italy’, A3
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‘Lost Talent’, A3
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‘Found Opportunity’, A3
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‘Lost Sleep’, A3
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‘Found Alarm’, A3
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Wall plastered by posters at Cubbon Park Metro Station
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Close up of the wall
Before going outside the metro station, I wanted to do a similar intervention inside the station as I did not want to leave the commuters of the station bereft of closure. I laid out the posters in a manner that asserted them to make their connections. I placed the pairs of lost and found close enough for the viewers to match as they saw them.
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Poster Pasting in the city I decided to mimic the existing poster-pasting practice of repeating the same poster in a tight manner so that they are adjacent to each other. This is commonly seen in vernacular posters of political agenda or feature film posters. The repetition ensures that these posters do not escape or slip out of the viewer’s eye. It guarantees impact and effective communication. I, personally, feel that the streets which are inhabited by these posters also come alive because of their boldness and striking nature. Again, much like other vernacular stickers and adverts, these posters are not irresolute in their usage of colour or type and in their relationship with form; nothing is half-hearted, in fact, it is like a celebration of whatever they stand for.
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Image courtesy : https://in.pinterest.com/pin/504684701966039615/
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Putting up posters on Church Street
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Putting up posters on Church Street
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Putting up posters on Brigade Road and St. Marks Road
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Putting up posters on M.G. Road
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Posters on M.G.Road and outisde Koshys
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Once the posters inhabited public space, I was able to
There were some curious people as well who were trying
acsertain how people were reacting to them. On the
to figure out what was going on and why I was putting
first day of postering, a passerby voiced her concern
up the posters. I wanted to know what was it that they
for the walls that were being plastered by posters – that
were inferring from the posters. I would tell them that
the posters would soon start peeling off and leave ugly
it was a series of lost and found posters of strange and
impressions on the walls. I feel that such is the nature
whimsical things and beyond that, I wanted them to
of the medium that it is transient and will fade in some
engage with the posters in their own space and time.
time. This is how paste-ups work in public spaces – they
I was struggling with the wheatpaste on the first day of
are temporary.
postering and a good man gave a tip that helped me stick the posters on rugged, uneven wall surfaces. I also
Then there was a conflict of what is public really? –
realized that the paper I used to screenprint on was quite
private owners of shops whose walls were sought after
thick and was making the whole process of wheatpasting
complained that it was not public property that one could
cumbersome and almost punishing. However, the same
go around plastering posters and on the other hand, a
thickness of the paper was also lending importance and
certain government official expressed his anger when
gravity to the poster series. In the end, I did figure out
I was putting up posters on the LIC building on M.G.
the correct proportions of the wheatpaste and pasting
Road. He said it is not permitted to stick anything on
technique but some of the posters are still falling out after
government buildings. What is the place to put things
two weeks while others are stuck really well to the walls.
up publicly then?
***Photographs taken by Rutwij Paranjape, Sujat Roy and Siddhant Shetty
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Intervention
#2
Final Thesis Project | Antra
LEVITATING GORILLAS
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I decided to paint the walls of the corridor leading to
Another idea was to take advantage of the form of
an evelator on the Chinnaswami side of the station.
a corridor which allows for creating a cave-like space
I started by ideating with words like lift, up, down,
which can be ‘entered’ and ‘exited’ – an opening into
floatation, levitation, upside down, etc. I was lookig for
the inside of an organism, something similar to my first
an object (visual) that would help me convey the effect of
piece. Even though it would create this effect, I still
levitation. As a response to Shayla’s rock-climbing piece
wanted the public to be able to identify the image in a
right next to the corridor as well as Artez’s jungle along
way that it was recognizable either in form or content.
the stairs leading to the exit, I fixed on a gorilla. Since I
With this idea, the possibility of the image to become
had been working with the idea of contrast and bringing
abstract troubled me a bit.
unexpected elements in a space, floating gorillas fit well as they are heavy and bulky and the least one expects
This conflict between giving something recognizable
to see gorillas do is fly.
to the audience while at the same time creating an experience for them was exhausting and made me
I was constantly struggling between image and effect
question my process and end product.
as the translation of an exciting visual into the final end product is extremely tempting – it is not something that I can sacrifice while going ahead with execution. A good image triggers and propels my process.
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Mural in the making
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Finished images of the mural
I liked the gorillas with no background as it was lending lightness which was helping create the effect of levitation. However, I was not completely satisfied with the piece – there were some suggestions to give the gorillas a shadow but I was not very keen, which in retrospect feels like a stupid thing to not have done. So, I went ahead, knowing that there was a possibility of it turning on its head, and painted the background lime green. As it turns, the image started looking heavy. The weightlessness disppeared with the white of the background. But I realized that it is better to get up and make changes rather than sit and contemplate about whether or not to make them – it is good to be moving in any direction than be stagnated at the same point without stirring at all. I do regret putting lime green in the background but I am also slightly happy that I was not scared to try it out.
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Intervention
#1.5
Final Thesis Project | Antra
SELLING MERCHANDISE
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For the fourth festival of Art In Transit, some of us
It also turned into an opportunity for feedback from the
planned to set up shop inside the metro station. Based
public and commuters that visited the metro station
on a fellow student’s research, it was decided to create
regularly. A lot of the feedback that we get is from
a home library where the commuters could read and
college faculty and artists but I was thrilled to know that
buy books, posters, comics, etc. As a part of the shop,
a lot of college students had noticed the Lost & Found
I was selling my posters. For the purpose of selling, I
posters in the M.G.Road area and had been curious to
decided to package my posters in rolls which featured
know more about them.
the text corresponding to the image of the poster on the packaging.
Based on the people that were stopping by the posters or buying them, I realized a majority of them were college
It was a great experience trying to understand how
students and young adults. This threw some light on the
merchandise is sold in proper settings. Even though, it
kind of audience that perhaps enjoys this kind of work.
was done at an amateur level, I realized how even after figuring out a space for selling merchandise, one needs
The shop definitely illuminated certain areas that I was
to ensure it is brought in the public eye and there is
unware of or had been in the dark about.
significant visibility for the product as well as the space.
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Intervention In-process
#3
Final Thesis Project | Antra
UNTITLED
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The idea emerged from the facility of repetition that was employed while pasting the lost & found posters in the city. The facade of the shop is such that commodities are stacked together in a manner similar to these posters as they too use the language of repetition in their arrangement. The idea is to package commodities that do not have an existing branding in place or offer the opportunity to shed their current packaging and don a new one. I will be looking at hot chips, packaged drinking water, etc. I want to sell intangibles(or ideas) by means of selling tangibles in reality. For e.g., selling superpowers – a variant of hot chips makes one resistant to slipping on wet floors, another enables one to be invisible in mirrors, etc; selling secrets, and so on... This intervention still has to come together in its full form.
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Engaging with repetition while brainstorming
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THESIS PROJECT 2017 PROJECT TITLE An illustrated childrens book STUDENT:
ANTRA
PROJECT:
Art In Transit
SPONSOR:
Hermann Miller
PROGRAM:
Undergraduate Professional Programme
AWARD:
Information Arts and Information Design Practices
Final Examination Panel COMMENTS:
Examiner 1 (name and signature): Examiner 2 (name and signature): Examiner 3 (name and signature): Date:
Academic Dean:
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