Prateek Vatash - Step by Step by Art in Transit

STEP Y ST B EP ART IN TRANSIT DOCUMENTATION BOOK

prateek vatash

The work of art intersects the personal and public, leading to larger engagement with the community. The nature of this engagement is with intangible aspects of life, such as memory, and tangible elements like locations, public spaces and objects.

Why does art exist? How does it transform? The experience of art lies with the creator, the viewer and the space. It predates the use of words. Artistic enquiry had the capacity to reach where words and logical frameworks feel inadequate.

Prateek vatash

ART IN TRANSIT D I P L O M A

P R O J E C T

D O C U M E N T A T I O N

contents

PartTwo: Dreaming

Part One: Discovering

Art Artist Personal

1 2 3

Visual Notemaking One Metaphor One Kabir Project Visual Notemaking Two Mapping Exhbition One FindingTangents

7 9 11 13 16 19 21

Proposal One Seminar One: Proposal 1.5 Changing Angles Group Readings Inspirations Revisiting Peenya Shifting Gears Concepts One Reality Check

23 27 34 35 37 39 43 47 49 53

Part Four: Beginning

Part Three: Creating Sketches Paper Prototyping 3D Prototyping Seminar 2 On Site 1: Post Its On Site 2: Patterns On Site 3: Bigger Picture Compositions On Site 4: Colors and Patterns On Site 5: Cube Branding for Exhibtion Reflection on Seminar 2

57 59 61 66 68 69 71 74

OctoberTimeline Materials Further Steps Visualizations On Site: Segment One On Site: Segment Three Future Final Proposal

102

Art inTransit

121

Bibliography Acknowledgements

123

103 105 109 111 113 115 118

77 79 99

124

ART

ÂŤ

"Art saves our lives from falling into a spiral of boredom and monotony. Art gives a meaning to aspects of life we fail to notice." "Powerful art is the power to create something beautiful, magical and memorable when being confined to complete isolation or darkness." "Art is living and experiencing the moment created by the artist."

ARTIST

"Being an artist means directing the train of thoughts on the path less taken. It's about looking at places and things in a way which makes it different from the rest. It's about finding unexplored territories, having the courage to dive head first into it, and then emerging with the understanding and an expression that gives the people something to marvel at. Being an artist is about beautifully dissecting the world around us, and looking at it through different lenses, just like a child would do with a toy. Art is magical, and it is like a show which the artist can orchestrate."

"Everybody is on their own personal journeys. And at times, these individual journeys intersect with each other, and gives the other person something to look at and think about. An artist has the power to convey his/her ideas and make a mark on a tiny fragment of this planet. Maybe his artwork would momentarily give somebody something to stop and look at."

ity ify

PERSONAL 3

WHO AM I?

I like to consider myself as someone who is constantly juggling between being an artist and a designer. And this reflects in the work I do. I come from an illustration/graphic design background, with an enhanced interest in vivid colors, and typography. I believe that the right balance of the extremes can create magic, and have the power to be memorable. I also believe in constant evolution, and that is only possible by venturing into something new. A big majority of my work depicts contrast. An example of that can be a graphic novel that I worked on, which depicts human phobias and scary text, shown in bright and fun visuals. Versatility is an essential factor, and I try my best to not let any stereotypical assumptions define me. I like to stay true to my interests, while constantly exploring and pushing the borders. That is what led me towards "Art inTransit".This project seemed like the perfect opportunity for me to personally take my next step. My work had almost always been confined within the borders of paper, or within the frames of a screen.This was one chance I could take and break out of the box, and unleash it in real life. Also it gave me a chance to enter into the territory of public art, something I was very unfamiliar with, but had wanted to try out at least once.

Don’t Do It

Part 1: discovering

The first set of the assignments were about developing skills and tools that would aid in the creation of ideas later.These assignments covered certain aspects of the artistic process, and gave us an idea of the strengths and weaknesses of both ourselves and as a group as a whole. The idea probably was to start thinking in a way that would help us find points of entry towards a topic of our interest.

VISUAL NOTEMAKING 1

Visual note making, in other words capturing the essence of a place using visuals was the first venture into a space similar to our final site.The idea behind it was to create sketches and notes, with a combination of both words and images, and capture the mood and location of the place.The visual notes were expected to give a good enough idea of the surroundings. We started off with the Purple Metro Line, from MG Road towards Baiyappanhalli.The students were given specific stations on the line, and produced several sketches each.This gave each person an idea of the entire stretch of the line. Looking at the sketches also spoke of every individual's drawing and observational skills. The station I covered was Halasuru.

Sketches from Halasuru 7

Compiling the sketches according to stations and connecting them

WIP Images

metaphor one

Deriving a metaphor for the ordinary is in short looking at the everyday objects in a way that is different from the ordinary. Finding metaphors in things around us is one of ways of developing content for art pieces. It is one of the things that makes art different.

Personal Artifact One Inspired by the experiences from the Purple Line Station Halasuru Through this artwork I am looking at the metro station in the form of a skeletal structure, specifically a human rib cage. Going through the station building I noticed the roof above the platforms, had curved beams that reminded me of the structure of a rib cage. A skeleton according to me is the most basic framework for supporting life. Looking at the metro station, I felt that the structure was present, but it had no life of it's own. It felt empty, hollow and quite heartless.The station building also stood out very prominently from it's surroundings, like a colossal structure which felt out of place. This artwork is my artistic representation of these thoughts.

Final Metaphor Artwork

"Life is like a journey, and through the rush and chaos we tend to forget how beautiful it actually is. Life has become a race, to impress, to obsess and to deceive the others into what you think is right. Life is constantly bombarded by competition, and it's only about climbing the ladder to personal success, fame and success. We fail to see the bigger picture. " kabir proJECT

The Kabir Project was introduced within our project to provide a different perspective on the ideas of transit and motion, through a broader spectrum of spirituality and life. Through the poetry of Kabir, we tried to find tangents which we could possibly connect with.

One of the most interesting things about Kabir Project is the different ways in which can one can personally connect with it. Transit as a term can be applied to various aspects of life.The poetry spoke to me about the journey of life, and the quest for finding the destination, that would set us free from the cycles of birth. I do believe in afterlife, and I also believe that each birth that we get has a higher purpose, to attain wisdom and to learn some lessons. It is only through experiencing the form of the physical body can the soul actually learn.This journey is something we cannot escape from, and every possible harm we inflict on others in this life would somehow come back to us. It is possibly the way things balance out in the universe. I also liked the concept of the body being seen as city, which we are in total control of. How we abuse or please the city depends on us, and the outcomes of it reflect on our lives. There is constant motion and change within us at every moment, and it is up to us to decide the direction we should take it towards.

Sketches from Peenya

visUAL NOTEMAKING 2

Visual note-making was also the first approach in documenting our first experience of visiting Peenya. We had to visit the site and note the things that caught our eye, through photographs, sketches and notes.The first impression of a place is always the most powerful, and that's why it was important to keep an open and keen eye towards the space we were going to inhabit in the coming few months. Although first impressions are not enough to give a complete idea of the place, sketching out several parts of the locality and the station gave a good boost towards getting to know the area. Pushing the ability to find other perspectives to look at the same thing.

Yelahanka Map WIP

Compiled Yelahanka Map 15

Mapping

The ability to explore, observe and absorb makes a big difference when trying to find a personal connect with a topic. We started with smaller exercises, understanding the meaning of mapping a journey. What does a journey consist of? What exactly is map, and what does it tell us about a specific location?These were some of the questions we were trying to answer through these exercises. We went from micro scale to macro scale, starting from a personal map, ultimately leading up to mapping the area around Peenya metro station. We tested out the mapping by starting with a slice exercise, where in pairs we charted out a segment of a bigger map, a slice out of a bigger circle, which when combined gave a broader idea about the area.

Slice FromYelahanka Map

Pictures from Peenya Mapping

Mapping 2

For the Peenya mapping, I worked on collecting data from the locality. I was looking at banners, flyers and advertisments put up around, and tried to observe patterns out of those.The kind of advertisments gave an idea about the area. Through this process I also ended up exploring parts of Peenya that I would not have otherwise, and it provided a good essence of the area as a whole. It also allowed the area to be roughly divided into industrial, residential and commercial areas. Experiencing the local was a great way to start feeding into ideas and concepts later.

Final Peenya Map

te Cen Call

P P

Taxi

Schools/Nursery

PEENYA

To Let

Training/Coaching/Education

Job

Job in MCDs, CCD

Clinic/Hospital

PAN Card/Personal Loan

Kannada Film Posters

Kannada

English

Construction Machinery

Political Posters

Government property

Commercial/ Industrial

P Residential

exhibition one The first exhibition showcasing the work of our project til then, was to give an idea of our process, and where we were headed towards.

[

finding tangents I feel that the purpose of the assignment was to warm our artistic muscles up, by engaging us into activities that required us to think in an artistic manner. Also through these assignments, we got introduced to Peenya in a systematic and yet free approach, where we ourselves chose to perceive what we wanted to.The explorations and mapping exercises, slowly made me familiar with the surroundings, and got me thinking about all possibilities of artwork that I could work on there. Although the assignments were beneficial, I did feel that it did take up a large portion of time, which we could have utilized further during the Peenya exhibition.

[

PARt TWO DREAMING

proposal one

The aim of the first proposal we wrote was to present all possible artistic interventions we could imagine in the station space.This was the first time we had to imagine and create rough visualized proposals for artwork we could pursue, and it led to several interesting ideas. The ideas presented ahead are shown exactly how they were presented during the initial stages of this project.

Possibilities of narratives in Station Spaces Spaces can tell stories. The Peenya metro station is a space with a lot of exciting possibilites for narrative based art installations. Spaces have the power to engage the viewers in many possible ways, and through a series of sequential artworks, a powerful mode of narration can be revealed. Also the station space offers a good variety of positive and negative spaces, that could give it the form of an interesting canvas for the artworks. The fact that passengers will have very little time to spare, makes it a challenge as well.The artworks and installations have to be captivating enough to catch the attention of passengers and hopefully give them a new experience, and a refreshing change from the monotony that surrounds them.

1. Staircase sets Lenticular art. The stairs are an interesting space, because it can be seen in from two distinct different viewpoints: while climbing up, and coming down.They could function in a way similar to how lenticular screens work, allowing two different images to be present in the space. This physical aspect could be utilized in the concept for the artwork that could appear here. Possibly portraying the two sides of something, following through the ideas of contrasts and comparisons that have been discussed. Materials: Different types of paints,Tapes and materials for stencils or templates.

2: Escalators. Art in transit/motion. The escalator steps have two planes, which appear and disappear because of the constant rotation.The moving steps can be the site for a motion artwork, with the artwork being presented in a series of images and text that could evoke some kind of response in the passengers.The multiple escalators in the station premises provide the opportunity for a continuous narrative that the passenger could unravel while taking different paths to reach the platform. Materials: Paints (Spray paints), Cardboard for stencils, VinylTapes

3.Walls visible from the escalators. The escalators is one point in the station when the visitor has the time to stand and observe the surroundings, while being in motion at the same time.The walls around the escalators could be a space for a series of artworks, possibly presented on the adjecent or visible surfaces as the passenger move slowly towards the platforms.The motion of the escalators is something that could add to the experience of viewing the artwork. Materials: Paints, Colors, Paper, Scrap, Wooden frames and materials needed for mounting.

4. Main hall on level one. The massive hall on the first level allows for opportunity to include artwork that utilizes perspective tricks to engage the viewer.The art would be visible from multiple specific viewpoints, which could be placed along the path that the passengers normally take to reach the platform. A series of such connected artworks could form a narrative of a kind, that could seem to appear out of spaces, at these fixed designated spots. Materials: Paints for walls, tapes, plywood, newspapers, canvas, cloth, paper.

5. Entry hall The entry hall, with the ticket counters and the checking spots is the first space of entry in the station, and a possible artwork in this space has the potential to become an impactful, memorable first impression. It could serve like an introductory piece, in either the form of a mural, floor graphics, or others, portraying the essence of the surroundings and the city of Bangalore, or something in those lines. Materials: Paints for walls, newspapers, canvas, cloth, paper.

6. Main Hall Windows The windows in the entry hall cover almost the entire rear side of the building. It is a large, well lit space, that could hold silhouettes that could be visible during the daylight. The scale of the silhouettes would make them visible from both the levels. The installation here could be realated to the surroundings that are visible outside, and maybe make it a little more interesting. Materials: Different types of materials for masking and making silhouettes: paints, plywood, acrylic, vinyls.

seminar one

What was seminar one about? What points were brought across? What was the main idea and context that I was portraying? What was the feedback given?These were a few questions that I answered through the following proposal.

proposal 1.5

In the process of frequenting and studying the metro line and Peenya area, change was the one idea that kept resurfacing in my mind and finally resonated with my experiences.The more time I spent trying to understand the space, the more its image changed in my mind. I underwent a personal transformation and emerged with a new perspective of the space and its surroundings. Also, with the coming of the metro, the city has started to undergo a process of metamorphosis. Rapid change and development in the areas around the metro stations is only imminent. There seems to be a significant contrast and gap between the metro and its surroundings at present which caught my attention.The artwork that I am proposing would deal with these ideas of change, transition, contrast and new perspectives.

FINDING CHANGE

The initial impression that I had of the metro was that it completely stood out from its surroundings. Entering the metro stations was like entering an alternate world because of its clean glass and metallic interiors. Everything inside the metro stations was in such order in comparison to the chaos outside. Being inside the metro station gave me a sense of very artificial security.The security scans and all the guards make it feel like it's an extremely safe and sensitive environment compared to the immediate rough and raw environment outside. It felt like being inside a cocoon in a rough surroundings. The station interiors also feel like a controlled environment, where the guards monitor every movement. It almost feels like being in an area being dominated or ruled by a singular power where we have to follow the rules of the authority. It asks for caution in behavior since we are constantly monitored.The station exteriors are much freer and there is a sense of complete freedom which is seemingly lacking inside. This was the first point where I arrived at the concept of CONTRAST. I used this idea in deriving the first metaphor for Halasuru Station, and the metaphor for the group was named â&#x20AC;&#x2DC;Contrasts and Comparisonsâ&#x20AC;&#x2122;. Within the group, one of the iterations of the group was a comparison between necessity and luxury with the metro being the subject.

The mapping exercises introduced me to the ideas of engaging with the surroundings in a systematic manner and at the same time looking for interesting patterns and in connecting the dots. Maps tell us a lot about a specific area it provides a wider perspective. Mapping Peenya through a specific lens was challenging, and it spoke a lot about its people, its area, its topography and its ambience.There was a strange silence in the ambience like the calm before the storm.The area felt like it was waiting to launch itself into a new highly developed zone in the near future. In fact, very interestingly, in just the two weeks while I was mapping, a road that led to the station was widened and tarred!This state of rapid development felt like it was trying to keep up with the coming of the metro in the area.The metro station could be a benchmark to which the area would want to keep up to. To live up to this burgeoning development, such distinct changes are imminent in the future. It could be in the form of new residential zones and bigger commercial zones- a possibility even within the premises of the metro station. There also seems to be a strange disconnect between the industrial zones and the other sections. Peenya has been known as an industrial area since a long time and the arrival of the metro in the area could only possibly mean a significant improvement to the area besides a boost to the industrial section. More people will have easier access to the area as compared to the past and the metro will easily bring people here from all parts of Bangalore.This will surely be one of the biggest reasons for change and transformation into a better future. These points led me to the concept of CHANGE and TRANSITION that I would further use in the artwork.

THE IDEAS

These are some of the possible ideas that I could portray in this artwork: *The concept of time â&#x20AC;&#x201C;how time is responsible for change. I could work with the concepts of past, present and the future, and derive comparisons among the three. The various time periods could look at the way change is brought on.The present could also be seen as the past only if seen from the future. *The visual contrast between the interiors and exteriors. *Metaphorically represent the transformation of the surroundings. I could derive metaphors based on the broader ideas of change and transformation keeping the locality of Peenya in mind.These metaphors could be contrasting to each other and depict the essence of the space in and around the metro station.

MATERIALS/BUDGET

Materials for creating the panel (If mounted) : Plywood/Sun Board, Wood planks Paints, vinyl, Paper, Prints,

THE FORM

The form I would like to use is that of a relief screen that uses the principle of lenticular vision.The screen consists of alternate ridges that display two separate images when viewed from two different angles. Such a form literally changes and transforms from one form to another.These two sides to the singular form could be used to bring in the concepts of contrast that I mentioned above. Such an intervention involves engagement of the viewer with the artwork by playing with their visual perspective.The viewers would have to change their positions to see both sides of the picture. I would like the form to embody the conepts of change, contrast, transition, and transformation that I mentioned before. It should also be an artwork that gives the viewer something new and memorable to look, without compromising on thier transit it. At the same time, it should stand out, but still stay in sync with the current contemporary and modern look of the metro station. It should resonate the prominence of the metro as compared the surroundings. Lastly, it should have an impressive imapct on the viewer.

Early Visualization of Lenticular Panel

RESEARCH

To understand the form I would research about the origins and find various examples of how and when this form has been used. I will try to understand the strengths and limitations of using such a form keeping the context and location in mind. Further research would continue on-site, at Peenya, by trying to find more connections and entry points to the station that could further allow more explorations for the project. Survey around the area would continue.This time I would be looking at the area through the lens of this project.This would feed more ideas and help develop the concepts further. A more detailed site study would follow keeping this idea in mind and all possible locations will be examined thoroughly.The dynamics and movement patterns of people inside the station space would be studied as movement around this artwork is a major point to note.

FORM AND MATERIAL EXPLORATION

To create the form, the folding mechanism has to be kept in mind and the folds have to be evenly and uniformly spaced. Getting this form right would require several trials. Exploring the form would start by making smaller prototypes to test how well it could work.This would involve playing with colors, text, and imagery on a lenticular ridged panel. Paper prototypes would be a good place to start. Further explorations and prototypes would be by using other materials such as mount boards, sun boards and further MDF or ply wood. If the idea develops further, the form could also possibly undergo modifications.

WHERE

The artwork could be installed at any suitable wall that allows movement horizontal movement in front. Shown visualization is an example, situated at the main hall near the ticket counters.

points to note

PEENYA NOW

PERSONAL EXPECTATIONS

WHAT I HAVE GATHERED

Artwork that gives the viewer something new and memorable to look at without compromising on their transit time.

It is changing the way we look at and approach the city.

Artwork that embodies change, transition and transformation.

Artwork that goes along with the contemporary and modern look of the metro. Artwork that encourages different perspectives on the city. Artwork that stands out and resonates with the prominence of the metro. Artwork that makes an impressive impact on the viewer.

Peenya is predominantly an industrial area with a lot of factories. It has several pockets of residential zones with light commercial zones. The arrival of metro has made connectivity much easier and there are new housing projects being developed around the area.

The metro is a catalyst in the changing phase of Bangalore.

Areas around the metro station are expected to develop rapidly in the near future which would transform the landscape of the city. The metro station has high potential to become a landmark that defines the area. Art in the metro stations could give it the personality it is lacking. Art in the metro could also change the way people look at the metro station.

changing angles

There are times when you can feel bombarded by views and opinions about how your project should probably look like, what it should mean etc. Especially during times of confusion and when the path ahead is a bit uncertain, it is easy to believe somebody when they claim to be offering an solution. But the fact if it will actually do good for the project, can only be decided by yourself. Although after the seminar, tt felt like I had a strong enough concept and idea that I can pursue, I was still unsure about the location and the execution through the form that I had proposed. Also the imagery that would convey the idea was required to be strong enough to portray the idea of transition and change. At such a point, it was important to keep the options and the mind open, and to take in all possible suggestions and ideas from people around. I got all sorts of ideas, from using tiles to create a mosaic image, to etching images that could work.The tiles when aligned at right angles could give a similar effect that I was trying to achieve with a lenticular display. But the idea was ruled out because of the indecisiveness of the image, and also being unfamiliar with the art of mosaic as well as tiling. And also the image I had in mind at that time would have been a bit complex to depict through this medium.

group

To help us organize our projects and ideas better, we had a one day workshop that sorted us out in lose groups based on the idea we had proposed during the first seminar.The idea behind the workshop was to get us talking and thinking about which direction we could take in order to progress with our projects. The groups that were formed were named as follows: * Systems * Gender * Change &Transformation * Sensory * Community Narratives * Space Within these groups we were required to discuss and come up with questions, that we could address in our "Quest". Several readings were also provided to help us out in framing our thoughts and pushing forward with our ideas. We were also required to research about artists whose work inspired us, and who worked in areas similar to our project ideas.

As a group, we came up with these questions, in context to the changing and developing state of Peenya. 1) How do we study Peenya so as to construct a speculative future for it? 2) How do we define "Development" & "Growth"? *How do our definitions impact communities? How do we justify these definitions? 3) What markers can we find in the physical environment that help us build our knowledge of Peenya's history, culture and identity? 4) Understanding time - pace of development/Residues.

readings

To aid us in our ideation process, we were provided a selection of readings. Apart from these, I also referred to certain other books through the course of this project. One of the most significant ones was called "TheTimeless Ways of Building" by Christopher Alexander.The book talks about patterns which we can observe in our lives, and those patterns define how spaces make us feel. Small elements like color, sunlight, wind etc make significant difference in the way we perceive spaces.This book especially inspired me to think about spaces in a much different way, and be sensitive towards the elements that make up a space. At the metro station for example, I started noticing patterns like sounds, announcements, the path people take, the places the guards are situated, the way the space changes with the movement of the sun, the time intervals between each train and so on. Such tiny observations led to a broader and much more refined understanding of the place. Following are summaries of two of the readings that I read in the class.

New Genre Public Art.

BrainTime David M. Eagleman

This article talks about the way we perceive public art, and how a "New Genre" of public art has emerged lately.This New Genre of public art looks at the art in the public space as something which has the power to create an impact in the lives of people.The New Genre is about looking at the bigger meaning of what the art is trying to say, the relationship it has with the people, and the changes it can create. Art in public spaces was seen as a means of reclaiming and humanizing the urban environment. From the time when intent was realized, the meaning of the artwork took another turn. Art in the public could be used to connect to the people, outside the gallery space. It has the power to address political, social and personal issues in the lives of people.The artists in this New Genre of public art incorporated behavior, weather, ecology and political issues.Their artwork was more about the meaning of life, as compared to knowing what the art was. Art in the public space tends to have a lot more responsibility as compared to the gallery space, because it is catering to a completely different audience. Within the safe spaces of a gallery or museum, the mode of expression and understanding art is at a different level, as compared to art in the public.

The brain is encased in the darkness of the skull, and the only inputs that feed information about the exterior world are our sensory organs.These sensory inputs create a perception of the world we see, hear, taste, feel and smell around us.This can also make us think about how time itself is a creation of the mind. It is a way in which we decide to depict the changes that happen around us. Various experiments have been tried to prove that.Temporal illusions such as the working of motion pictures, is due to the fact that pictures appear faster than we can register each individual image, and they appear to be in the form of a smooth flowing scene. Also certain substances such as alcohol, cocaine and marijuana manipulate and distort our perceptions of time, and time appears to move slower or faster as compared to real time. Also at times when we tend to move at a very fast speed, the objects closest to us seem to blur out, because it is probably faster than the way our brain processes it. Research also shows how the brain seems to slow down time in events of disasters such as robberies, accidents or natural disasters. In such events the brain starts functioning in another mode, and registers minute details of the event.Time is something that gives our lives a spine, and a reason to proceed.Time is constantly changing and it creates change around. But ultimately, it is just the impulses and signals in our body that are responsible for how we perceive it.

inspirations

Inspirations often prove to be a very powerful way of influencing the art direction of a certain project. So I think it was very important to look up and follow the works of the artists who I thought would add something to this project. It is always beneficial to see how the other artists have expressed themselves, by studying the medium, their content, their style etc.These were some of the artists that I had looked up, that fueled my ideas and prepared it for launch.

Patrick Hughes

Patrick Hughes makes paintings using a technique called reverspective.These paintings are actually painted on special 3D geometric figures, and when seen from various angles, they seem to change.The paintings give an illusion of movement by using nothing but perspective to trick the viewer.This inspired me to an extent where I actually considered using a similar form to convey my idea.

Zebrating

"Making the invisible visible". This group of artists work on the idea of Secret Graffiti, where they make artworks in the public space on railings.These works have a surprise element, where the image suddenly appears as one walks by.This follows a principle similar to lenticular screens, and that is one reason it was of interest to me. Another reason this worked so well was because it was so concealed, and at the same time so visible in the public space.

Akash Nihalani

Akash Nihalani works with simple geometric figures, made with bright vinyl tapes. His works involve a lot of play with perspective. He works with simplifying basic forms, and changes the way we look at spaces. His most notable works involve 3D figures made in a 2D plane with tape, which results in fantastic eye candy.

Markus Raetz M.C. Escher

MC Escher was one of the biggest inspirations, because his works deal with ideas of distorted reality, impossible figures, and clever use of planes to create illusions. He has an entire series of work based on the idea of metamorphosis, which shows forms transforming from one thing to another. His works inclined me to research into his work further.

Markus Raetz has several artworks that interested me. They basically involve one physical form that show two different visuals.The metamorphosing element of the artwork was something which I was looking forward to with my own work.

The art reflects the state of mind of the artist at the time of creation

revisiting peenya

After all the discussions, talks and readings, I realized that I needed to be comfortable with the subject I had chosen and the work I was proposing to do. I also realized that everything up till this point had been very hurried up, with very less attention paid to the pros and cons of the idea I was putting forward. I also realized that one visit to the site was not enough, especially when at the first visit to Peenya, we were required to think about a metaphor, and the mind was already pre-occupied. So I decided to re-visit Peenya with a fresh mind, and study the environment, the people in the station, and the way the place works. After this visit, a lot of what I could do and could not was clearer in my mind. Also I figured that a lot of things that I had decided before this visit had been based on the initial assumptions, which were quite inaccurate. During this visit, I re-looked at the entire station space as a whole. I tried to understand the logistics of the station, noted down all possible sites where I could install my artwork.

Notes from the Station

Since the majority of the crowd was traveling towards Mantri Square station at that point, a big portion of the crowd diverted towards Platform One. I noticed that there were two ways to reach Platform One, which were two grand staircases facing each other.The first one landed towards the far end of the platform, and was accompanied by an escalator.The second staircase landed somewhere in the middle of the platform.The distance that was required to walk from the first stairs to the train was much more than that of the second stairs. So I noticed that the passengers who were aware of the extra distance they had to walk if they took the escalator, preferred to use the stairs, since that saved them that extra walk. Passengers who seemed to be either lazy, or unaware of where the train arrives took the escalator next to the first staircase. So the second staircases seemed like a good potential spot, since it had the maximum number of people passing through.

Sketches for Lenticular Panel

The initial spot I had chosen for the lenticular panel was on the platform itself, but back then I had not made these observations. At that chosen spot, I had assumed that a lot of people would pass through, but that was not the case in reality. Hence observing and understanding the space for a site specific artwork was extremely important, as it influenced the visibility, impact and effect of the the art. Another thing I realized was that in order to have a major impact, the artwork in that space needed to be large scale.That is because the station space is huge and very wide, a mediocre sized piece would go quite unnoticed. In order for it to be seen and noticed, it had to be big enough to take up a significant area in the space.

shifting gears

One of the drawbacks of choosing a form before the idea was that it restricted a lot that could be done be done.Traditionally, the concept should help in deriving the form of an artwork, and the form should come across only after the visuals worked well with the concept.This was one of the flaws I learned about through this process. Talking to other faculties gave interesting insights towards the form.The form of a lenticular screen seemed to be very attractive and exciting in the beginning. After spending a few weeks with the idea, I decided to reconsider it properly, looking at the positives and negatives of using such a thing in the station space. One of the most effective feedbacks I received from one of my faculties was to utilize the existing architecture of the station, instead of adding on more elements.The station space is massive, and there was more than enough scope to play around with the form and idea. Also using the existing spaces meant the budget of the project would drop significantly, which was another plus point. Things that worked for the Lenticular form: *The idea of a changing image * A dynamic form * Unconventional way of portraying images * Showcased two sides * Considered the interactive aspect of viewer * Required physical change in location of the viewer Things that did not work for the Lenticular form: * Expensive on the budget * Construction and maintenance a bit tricky * Durability dependent on the material * Additional element in the space After the fresh observations from the recent Peenya visit, I had a proper study of all the possible sites I could use.The idea was to keep the concept into whatever form I used ultimately.

Pages from notebook. Sketches for reverspective panel

concepts 1

The concept of time was something that resonated with change, because change speaks about time. I looked at the idea of change, and how we are constantly changing.The present is the moment right now. Each moment becomes the past.The actions of the present, at this moment determine the future. Hence Past+Present=Future. Every minute is so precious, that we tend to overlook the things that pass by us. We don't notice the beauty in things around us, and they are constantly evolving and changing form. At a micro level, everything that is around is changing, even though it might seem the same.The earth is moving at a speed of 108,000 km/h even at this moment.The constant motion is creating a change in our environment and surroundings. We are never still, and our motion is inevitable. We are a speck in the universe, speeding towards a destination which is unknown. We are changing our position in space, every second of our life, even when we think we are still and situated at a stop.This concept of motion was something was applicable to the idea of transit, where every person is always coming from somewhere and going somewhere.There is always a source and a destination.

Mathematical operators caught my attention, because they provide an explanation the changes that we encounter in our lives. For example, an addition of an element to a place can be a seen as a progress, or as a development. So can be multiplication.These changes are perceived to be positive changes. Removing or subtracting an element from a place can be seen as getting rid of something. Making space for something could be a sign of progress or development, if something better replaces what was before. The idea of mathematics led me to numbers, and how time consists of numbers. Numbers are a part of our lives and they change all the time.The weather changes.The time changes. Numbers define the the amount of the time taken to reach the top of the stairs, or to enter or exit the station. Numbers define the way we should behave and act. Numbers exist in money, currency and all basic calculations.

Pages from notebook. Sketches ideating concepts with time and numbers.

At this stage, I also had to question why I was choosing the staircases. Staircases provide the feeling of grandeur, and it is a space which is easily noticeable. Everyone has to encounter the staircases while entering or exiting the station.The stairs can work as a single large canvas for portraying the ideas. Also stairs metaphorically work with the idea of going ahead, upward, progressing, and changing times. Development and change is seen as a step above the previous. Also a stepping stone is regarded as a means of progress or advancement. Just like people use ladders as a metaphor for success. Each step taken above means a new thing has been achieved. Each step signifies growth and transition to a new phase. From a dual perspective idea, I was looking at the broader meaning. An artwork in this space could literally address the idea of looking at something from a broader perspective. Getting closer to the artwork would distort it, thus making it less visible. It would not make sense from this close, but the viewer is aware that it exists. But it needs a certain perspective to understand the bigger meaning of what the artwork is trying to show or say. At different levels, different fragments/slices of the artwork can be visible. At a single point, all points of view cannot be seen.The view is different from every spot.

Keeping a broader and open mind/view, the viewer can see the intention behind what is being shown. A broad perspective is also about the willingness to look at multiple views on things, which is another reason why I fixed on the stairs as a canvas for my artwork.

escher

During the research phase, I was inspired a lot by MC Escher. His work had a lot of content which involved manipulating perspectives through the use of architecture and planes. A lot of his work involved stairs and ladders, in many impossible situations. His work showed a world with distorted gravity, and no physics, which gave his work a very surreal feel. His architectural consturctions in his work are compared to games, because they depict nothing like you would expect to see in reality.They are playful, and makes the viewer follow paths and see where they lead to. His work also maintains a sense of mystery, which makes it even more exciting to look at.

Early visual concepts for Lenticular Panel

reality check

Apart from the concept and form, I also realized that my own personal strengths and weaknesses played quite an important in deciding what was finally meant to be done. My expertise from the past four years has been majorly on graphic design and illustration, and I did not want something completely unknown to prevent me from showcasing my strengths. I agree that challenges are very important in order to learn and grow, but the intensity of the challenge was something that was in my hands.That is probably another reason I gave up on the lenticular form. Working with hard and construction materials is definitely one of my weaknesses which I am aware of, and I did not want to compromise on the quality of my project because of this. Hence I decided to go ahead with something which is new, and enough to challenge my strengths, but at the same time it could be something that I could keep a control over.This was one of the decisions that make complete sense right now. Pushing oneself beyond a limit can be dangerous, so the intensity of the push needs to be regulated.

At times when it did feel like I was getting lost with my content, I tried my best to divert myself back onto tracks using other methods. As an artist or a creative person, it is very easy to face a creative block. Breaking free from the block is what helps the creative process progress. At times I felt that it was very important to go with the process without worrying much about the outcome. Going with the flow always works, as long as the path of the flow is defined properly. At such stages, selecting the right books to read helped, and looking at others for inspiration did too. Also as an artist, it was essential to be sensitive to catch signs and inputs from the surroundings, and being able to use them effectively in the work. I realized the deeper the research was, the better the satisfaction at reaching a conclusion for a concept was.

After all these thoughts and considerations, I finally decided to stick to using the staircases as my form.The artwork I would make would go on the risers of the steps.There are several reasons for choosing the stairs as the new form: *The original idea of a dynamic changing image is retained. * It is a new unexplored surface for me to work on, which is challenging enough and exciting at the same time. * Retains the interactive aspect. * Retains the physical movement of the viewer. * Significantly lesser on the budget. * Low maintenance. * No additional assets to be constructed. * Utilizes existing space. * Scale of the artwork is very big.

I was also suggested to consider the artworks that was going to be present near my site. Shambhavi, one of my team-mate, was creating a mural, and her site was directly above the stairs. Her idea was about capturing the tension that emerges in a traveler's journey, between the states of waiting and rushing. Her artwork incorporates surreal imagery of travelers, and also ladders.There was a possibility of a connection between the content of the mural and what I was creating, since I was also looking at ladders and the stairs as a metaphorical element of my artwork.

Choosing this form solved certain of the issues that I was facing with the previous form of lenticular screen, but at the same time not sacrificing on the original concept. Hence I decided to proceed with the stairs, and start ideating and prototyping towards it.

Part

creating

sketches 57

To start with the ideation process, I started sketching out some of the visual ideas I had in my head. Similar to a brainstorming process, I tried fleshing out numerous ideas. But for experimental purpose, I stuck to a simple geometric as a place holder.This ideation process was happening only on paper, based on the few site visits that gave an idea of the stairs. It is easy to notice that at this point I did not have much about the actual scale of the place, and how such designs could be pulled off in practical.

Sketches were good for ideating, but they did not really work so well at this stage, considering that the canvas was a 3D space, and that too a very dynamic one. So it was required to see how images or shapes would react to the space in a three dimensional form.

paper model

So I started with making a very basic 3D paper model of the stairs. Making the model to scale was difficult, because I wanted to test out some designs on the miniature itself. So I scaled it down to a size where I could. I tried to make basic lines to start off, and see how those react with a change of viewpoint.The most significant observation was that when certain points align to create from from point, the same points seem to take a completely different shape from another point.This was a property of the stairs which I had to consider throughout the creation of the prototypes ahead

Experiment with mount board

Model WIP

3d prototyping

SketchUp Model

After a physical model, I created a digital model of the site on 3D modeling softwares, and started experimenting with those.The initial experiments were to see how patterns and lines placed on each step affect the design. I tried to replicate several of the iterations I had initially created on the thumbnails.

Cinema4D Trials

SketchUp Model

After several trials and experiments, it was clear that working on a software did not even come close to replicating the on-site experience. It did give some idea, but it also made it clear that the next step would have to be executed on site.

how to climb a ladder Set the ladder at the proper angle Decide the target and gauge the learning curve

Make sure the feet of the ladder canâ&#x20AC;&#x2122;t slip backward Strengthen the foundation Make sure the top of the ladder is resting on a flat surface and doesnâ&#x20AC;&#x2122;t slide or wobble when you put weight against it. Check if the process is strong and works. When climbing the ladder grab onto the rungs of the ladder using a hand over hand method never letting go of one rung before grabbing the next. Be confident and proceed.

seminar 2 peenya exhibition As a group, the plan was to hold a work-in progress exhibition at Peenya Metro station around the end of September 2014.The aim of the exhibition was to showcase our prototypes and ideas to potential funders, who could arrange funding for the completion of our final projects. Another primary reason for this exhibition was for us to inhabit the space, and let the public be aware that we, as a group are working on creating public art interventions. It was also our first step outside the campus, to test out our prototypes and experiments, and gauge the reaction of the public.

1 site on post its

The first test done on site was that of trying to draw straight lines, using post-its.The idea was to see how the resulting image would react to movement and scale. Since it was also the first on-site trial, I got a hint of the way the surface works. Post-it notes was the easiest material to start with, because it was easy to apply, and move around the space. And at the same time, it was bright and easily visible.

2 site on Patterns The only way to understand what works and what doesn't was by actually placing it on the stairs. I tried an irregular pattern, like barcode dashes, to see how they react to movement. Compositionally it was looking appealing, but it needed to have some context. One of the constant feedback I was receiving was to portray something which the viewer can decipher and understand. Abstract irregular patterns were much less effective.

3 site on bigger picture composition Considering the feedback from the previous attempt, I decided to try and create a single big image that could be viewed from a single viewpoint. I started off with trying to create a cube, that would span the area of the entire staircase. I took a simple 3D cube, and made a rough plan by numbering the stairs and dividing the entire stairs accordingly in three different segments. Theoretically, placing the pointers exactly on spots according to the plan should have made the image appear. But in reality, it was way more challenging than I assumed before. One major mistake while making the plan was that I did not consider the slope of the stairs into it.The slope completely changed the visual, even with the slightest movement, and that was an issue while creating such a big singular image. I started off with trying to create one part of the image, a square. Creating this only by using eye as a reference was incredibly challenging, considering that I had to work on this myself. It was clear that I underestimated the scale of what I was trying to achieve.The task of running up and down 45 steps, in order to make a single refinement was exhaustive. And the end result did not even come close to what I had imagined.

It felt like trying to build a castle out of matchsticks. A single gust of wind could bring it down in seconds. However I did not give up yet, and tried to come up with methods that could make it possible. One idea was to use ropes or ribbons to create guides, and then use those to create the image.The advantage of using this technique was that it was possible to create a loose shape using straight lines that could be modified much easily, as compared to individually manipulating each element. Once the straight lines were in place, it was easier to trace out the shape.The results were still not satisfactory. It was evident that the biggest problem here was the scale of the image.Trying to stretch an image to cover the entire steps was not working out, and so I decided to scale it down for the the next few attempts.

4 site on colors and patterns After letting go of the bigger composition, I started working on one segment at a time. I started with trying to replicate the same composition within the first 15 steps. I was using post-it's to create a shape.The result at this point was the creation of a simple square, which would be visible by anyone approaching the stairs. As the viewer moved across the stairs, the square seemed to shift it's shape into a rhombus. Creating two alternate rhombuses created two different squares from It was probably the inexperience of working on this surface that made it very difficult to work. Another reason why post-it's did not seem to work much was because they covered only part of the riser. The surface of the stair risers was Black/Ash grey in color, and made of granite. In order for the image to be clearly visible, high contrast was a must.The material I had been using until now was white paper, and bright colored post-its.These had been quite effective, and visible enough even from a distance.

Introducing color onto the stairs had a very different impact. I started playing around with vibrant colors because of the contrast, and laid them out in the form of solid fills. During this process, I also discovered that from the ground level, only the top halves of the risers on the second and third level can be visible.This was one aspect I could possibly use in the future work. So in this, I could make the step dual-colored, and only the top color would be visible from the ground level. As the viewer makes his way up the steps, the bottom color is slowly revealed.This aspect of hidden color was something that excited me a lot, and I could imagine a lot of possibilities using this technique in the future. Even at this stage, I did not have a specific image that I was portraying. All the experiments were turning out to be, well, experimental.The feedback at this point to create a form that could be recognizable. In one of my thumbnail iterations I had shown two interlocked geometric figures. So one of the ideas was to show two distinct geometric figures, connected in a way that they seem to shift and change as the viewer moves around. The two figures could be represented using different colors, mostly complimentary shades, so that they could be easily distinguished from each other.The primary idea was to create something that people could recognize, and see it dismantle and assemble as they move.

5 site on the cube Based on the previous feedback, I started creating the cube I had originally planned to create. Since the previous attempts had taken up a significant portion of the first staircase, I started experimenting on the bottom segment of the opposite staircase.The tool I used to create the basic framework this time was drawing. I selected a single viewpoint, and from that started creating a rough image out of chalk on the risers. Once the image looked like it could work, I replaced it with paper of equal width and size.The resulting image was the first attempt that successfully worked in all aspects. Reaching a point where something was working took a lot of trials and errors, and this was something was not possible to do off site. All the visualizations and sketches served very less purpose in the actual execution, although they really helped in coming closer to an idea. With an unfamiliar space like the stairs, it was best to work on site, and see the things that worked and didn't. And also considering this was the first time I was working at such a scale, in a space like this, everything had to experienced on site to be understood.The prior knowledge was barely a shadow of the final experience.

branding

Putting up the entire exhibition required an active involvement in some way, that would help in holding it together.The prototype that I had created was definitely a requirement for the exhibition, because it was a work in progress exhibition. Apart from that I worked in the branding and the visual identity part. The entire process was a collaboration between two teams from our class, the branding team and the content editing team. In a group discussion, we first started out with a general discussion.There we addressed certain important questions, some of them were like: * What is the purpose of holding this exhibition? * Who are the primary stakeholders and audience? * What could be the personas of those stakeholders? * How can each person's work be categorized? What would those categories be?

Early poster iterations

Through this discussion we were also trying to gather a name for the exhibitionThis was primarily the main work of the content editing team, and they took it over from this point. Meanwhile, the branding team started working towards a visual identity and rough poster iterations.

We each came up with at least 10 different iterations of poster layouts that we thought could work. One idea that I suggested was to use multiple planes and break the two dimensional nature of an illustration on paper. This was possible by using an isometric grid, where both the text and illustration could work well together.

The process of deciding a poster that would work was also done systematically.Three people, including me started working on rough thumbnail iterations for a specific kind of person.Those were: PureTypographic, Typographic and Image, and only illustration based.

Several other people had started working towards creating illustrations for the poster, based on the themes we had come up with. After presenting the poster iterations, me and my team mate, Neetika were given the responsibility of creating the visual identity. We were supposed to collaborate the illustration team and give them instructions according to what we wanted on the poster. Initially during the group discussions we came up with broad categories that could be used to loosely define the projects. Using these categories, the illustration team created rough thumbnail sketches of the imagery that could go on the poster.These categories were: * Whimsical/Fantasy/Altering Perception * Nature/Mechanical * Local/Owenership/Identity factor * Breaking from order * Urban Dilemmas

Sketches provided by IllustrationTeam 81

In order to create an effective poster, we turned to a few values that we had come up with that defined our project and the exhibition. From these values we derived design principles which we could apply to the poster.The values are as follows: * Integrated - Unit/Similarity * Alive/In Spirit - Organic/Hierarchy/Movement/Dynamic * Open/Approachable - Having Folds/No fixed grids in the composition * Delightful - Color/Repetition * Sustain a Relationship - Connectivity among elements.

First draft of combined illustrations made by the IllustrationTeam

We had a feedback and discussion session with the entire group, where we showed the current stage of our progress.The thumbnails had been combined to create a mashup of all the illustrations that we had recieved.This big illustration was meant to go on the poster.The style of illustration that the illustration team had provided was not so well received, and it was clear that the overall style needed a new direction.

A Pocketful of Peenya

Font Selected

Take a moment at Peenya to witness a work-in-progress exhibition by the students of Srishti School of Art, Design & Technology. Join them as they attempt to create meaningful pauses in a space of change and transience.

Kshana

A Pocketful of Peenya

Venue: Peenya Metro Station, Tumkur Road Dates: 26th - 28th September 2014

HELVETICA NEUE

GOTHAM

Kshana

ART IN TRANSIT

A Pocketful of Peenya

BREWING THE IN-BETWEEN

Venue: Peenya Metro Station, Tumkur Road Dates: 26th - 28th September 2014

AVENIR

Venue: Peenya Metro Station, Tumkur Road Dates: 26th - 28th September 2014

AVENIR

ART IN TRANSIT ART IN TRANSIT BREWING THE IN-BETWEEN

HELVETICA NEUE

The final name of the exhibition was decided as Ksana, which means Moment.The content editing team provided us with the body copy and the Kannada translations to be used on the posters and other collaterals, and we proceeded to work towards the visual identity.

BREWING THE IN-BETWEEN

Venue: Peenya Metro Station, Tumkur Road Dates: 26th - 28th September 2014

GOTHAM

From this point, I took charge of creating the new illustration style, while Neetika worked on creating layouts and the typography. I stuck to the idea of the isometric views that we had, and proceeded to incorporate a few illustrations that we had received into it. I also had to create new elements in order to bind the overall idea together.

Font options selected for the branding.

Kshana

Every element was composed individually and then connected to the main illustration.The idea I was following was to create a surreal, lively illustration which showed an incomplete architectural structure, with columns, doors and staircases. Also floating elements coming together gave it a sense of being dynamic and alive. I constantly referred to the values and the design principles, and tried my best to use as many of those into this illustration. Apart from being organic, I think most of the other principles were used. Also certain elements directly referred to some of the projects, so it seemed to be a good balance of concept and literal representations. The name Ksana was not looking so appealing when placed in bold English type. So we tried out several layouts with the name "Art inTransit" and "Moment", the actual meaning of Ksana. Ultimately,we decided to emphasize Ksana in Kannada, with the English phonetic written underneath. This seemed to work overall.

KSHANA KSHANA

Finding Interludes Take a moment at Peenya to witness a work-in-progress exhibition by the students of Srishti School of Art, Design & Technology. Join us as we attempt to create meaningful pauses in a space of change and transience.

Other poster color schemes that were not selected

It was important to consider that other graphic elements would have to be created based on this style, and that was another primary reason I chose to work with this style. Not only was this comfortable to adapt on other surfaces, but it also gave enough scope for experimentation and versatility. Once the illustration for the poster was more or less decided, we experimented with layouts and color scheming. A good color scheme was required, to maintain the uniformity across all collaterals. After various iterations we came with a basic color scheme of blue, red and yellow. These colors dominated the majority of the illustrations, with additional colors for details.

ksana Finding Interludes Take a moment at Peenya to witness a work-in-progress exhibition by the students of Srishti School of Art, Design & Technology. Join us as we attempt to create meaningful pauses in a space of change and transience.

Venue: Peenya Metro Station, Tumkur Road Dates: 26th - 28th September 2014

Final Poster selected for the exhibition

collaterals

Graphics for interior panels

Using the same art direction, I proceeded to create all of the above. Before starting with these, it was important to understand and visualize how the final would look on-site.The dimensions had to be taken accurately, and the soft copies had to be created accordingly. We had decided to print on flex, so the soft-copies of the designs needed to have enough bleed and margin space that would allow it to be mounted easily.

KSANA

Graphics for exhibition entrance

Graphics for interior panels

It was certainly challenging to think about the continuity and synchronicity among all the different elements. Achieving this would mean that the exhibition would look whole and complete. A single element that did not seem to fit in would break the whole idea of a well curated exhibition. Also this was one of my first times creating both outdoor media, so I had to be extra careful about how I choose what I chose to show.

Technical learning and time management was part of the branding process. It was important to create files with the right measurements, with extra margins added to allow flex mounting. Also the colors of the files had to be selected carefully, keeping the contrast and printing technique and material in mind. And the fact that all of this had to be done along with creating the prototype, meant that time management had to be on the spot.

Graphic for exterior Totem Pole

KSANA

Graphics for exterior Banners

After finalizing the poster, I started work on the other collaterals.These were the other collaterals that had to be made to put around the exhibition: * Four panels for curatorial pillar *Three panels for hospitality area *Three sided panel design for exterior totem pole *Two panels for the entrance area *Three big banners to be hung on the station exterior. *Two panels near the map Using the same art direction, I proceeded to create all of the above. Before starting with these, it was important to understand and visualize how the final would look on-site.The dimensions had to be taken accurately, and the soft copies had to be created accordingly. We had decided to print on flex, so the soft-copies of the designs needed to have enough bleed and margin space that would allow it to be mounted easily. Graphics put up for exhibition

Banners outside the station 93

The entire branding experience was a refreshing change from the monotony of the main project content. It also simultaneously boosted certain ideas towards my main project. the prototype that I created for this exhibition was also very similar to the style I followed for the branding. It was probably the simplicity and effectiveness at which this worked that inspired me to work with similar geometry for the prototype. Working on illustration and graphics was also my forte, so branding was significantly easier as compared to my main project.

Totem Pole Standee outside the station

Disagreements and arguments was also a part of the whole exhibition process. I am sure as a whole the exhibition could have turned out to be a lot more effective if the entire group was working on it with the same intensity. It felt like everyone in the group were on separate pages, and by the last day it was just a hurried effort to put it all together.This was a very good learning on time management, and how to take initiative and proceed, especially when there is such less time available to execute things. It was also a learning to understand how group dynamics work. I realized that a group can be effective when the skills of each individual is realized and utilized to it's maximum. So that way the individual stays motivated enough to do something, and at the same time enjoying the whole process. Also certain times, it takes a bit more effort to convince someone that what you are doing is good for the whole. And working in a group means letting go of personal ego, and the idea of "My Work", and doing what is the best for the bigger picture.This involves compromising on personal tastes, preferences and ideas at times. Unless of course they work for the benefit of the group.The entire process is full of it's ups and downs, but that's what makes it such a learning experience.

KSANA

The exhibition was well received, despite it's flaws and hurried approach.The prototype we created was also a basis of judgement for our second seminar.The reviews for this seminar were done by any two external faculty from college, who visited the exhibition. These were the reviews: Put reviews from second seminar.

After the exhibition I also filled up a reflection paper, that summarized the learnings and experiences from the exhibition, as well as the next steps.

reflection on seminar two 1.Through the process of the exhibition what have you learnt about: a) yourself as an artist/practitioner: As an artist, I feel like it is important to constantly explore and evolve one's practice. And that includes pushing lots of buttons and boundaries, and a lot of times venturing into unknown/uncharted territories.This project was about me entering that space, and trying to put out something that is new, and resonates with my concept, as well as my own practice as an artist and designer. This is probably the first artwork that I am executing in a public space, and that itself is helping me evolve, because it is an entirely different experience. I feel like public art is a strong method of conveying an idea to a larger audience, and through this project I could possibly achieve that. The other half of the exhibition, working on the branding, felt more under control, as it was something which comes under my skill set. It was also a bit of a challenge coming up with the art direction that could work across both indoor and outdoor media, especially in the short time span. This also in a way pushed me and tested my existing skills significantly.

b) your proposed work: With this project, I feel like I am trying out something that is completely new, and out of my comfort zone.The piece that I am trying to create is something which I haven't seen around, and it is a great chance for putting it out there for the people to experience. I feel that although the proposed idea of the final project seems to have more of an aesthetic value, the idea did originate from all the experiences gathered during the initial stages of the project. Also the piece does connect with the bigger idea of development, new perspectives, and change, which I want to incorporate in the final artwork. I am happy about the fact that it adds an unexpected element in the journey of the passengers, which was one of the key things I was trying to achieve from the beginning. It also seems to be more challenging to create something like this, because I have not managed to find resources and references about this topic, and everything that has been done is purely based on trial and error. Also I realized that creating a bigger image is much more difficult, and I have not yet cracked a method which makes that work.Treating the entire staircase in three different segments help, and makes it possible to explore complex images and compositions, within these segments.

c)Your modes of operating that work and don't work: Working behind a screen is a method that has always seemed to work for me, and that was something which did not really help much in a project like this.The staircase feels like a challenging canvas, but also like it can be conquered by using appropriate techniques. In a space like this, it was very important to understand the things that work and don't work on site.That was only possible by actual experimentation. Also the sheer scale of the canvas is something that could not be experienced with making physical or digital models of the space. Around 80% of the attempts towards creating the prototype were a fail, because I underestimated the scale, and my own ability to create something which works.These failed attempts were very important, because they helped in understanding the space, it's strengths and limitations better. 2. Artists develop habits and dispositions to deal with the unknown, or the space between no idea and actions. a) choose two that you feel has been an area of strength for you as you have worked through this exhibition. Envision. Stretch and Explore. b) two that you feel have been a challenge or a disposition you want to work more on.

3 Based on your experience of this exhibition, what do you see as your next steps? a) with regards to your concept After getting feedback from others, I did realize that working with forms was much more effective.The idea of seeing a form disintegrate, transform and come together just by moving around sticks to my original concept, and that is something which I want to develop further.The forms that are used could connect with each other, to convey the idea better. I noticed that working with colors added more life to the space, and that could work if I choose work with creating a sensorial experience instead of forms.The colors would also ultimately depend on the material that I use for the final artwork. b) with regards to your work plan The first step would be to finalize the artwork that would go on the stairs. If there is a possibility of multiple staircases being used, then the connection between what goes onto each set need to be established immediately. If possible, I would possibly want to come up with a better and faster method of creating images, which would merge the gap between small scale prototyping and on site execution. Also the material and it's properties need to be studied, with onsite experimentation, to test it's durability, visibility, and effect.The prototype of the final artwork will have to be executed on site, which can then be made permanent, when everything is set into place.

Express. Engage and Persist.

100

part 4 Beginning

october timeline The exhibition was a good eye opener in many ways. It gave a very good idea about how the artwork was being perceived, and what could be done to take it further.To plan out the next steps, I created a week by week timeline for the coming month.The plan was to have a ready to execute prototype on-site by the end of the month.

Week One: Material Research and exploration. Find out the properties of reflective material, and consider the strengths and limitations of using the material in this space. Research about alternative materials that could work. Find references and theory that aids in the process of creating the artwork. Consider the possibility of using the escalators to get specific viewpoints for the artworks. WeekTwo: Conceptualizing final images/concepts. Finding connections between possible ideas. Generating images based on concepts/ideas. Work on images that can work from multiple perspectives. Figure out connections between multiple images, that flow seamlessly with physical movement. Create final visualization of the artwork. WeekThree: On site exploration Testing out concepts and images on site. First test of material on site. Observing how the material works for the artwork. Feedback from peers/faculty. Week Four: On site work continues. Test projection method for creating the image on site. Finish on site prototyping for at least two segments. Preparation for SeminarThree

102

Floor Marking tape found in market

materials

I started off with doing some material research. One of the major concerns I was told to take care of was the durability of the material, which would decide the lifetime of the installation.The material I had originally thought of using was the heavy duty conspicuity tape, which is used on vehicles and also on the metro station platforms.This was a special reflective tape, which makes visibility in the dark much easier. It is used on vehicles to increase visibility and decrease the chance of accidents. After research I found that the tape has an outdoor rating of 10 years, which solved the problem of using permanent material.The tape would be strong enough to last several years, even after very rough use. Also the reflective property would enhance the contrast between the dark background and the visuals. The highest quality of conspicuity tape available is the 3M brand.These are the specifications and pricing of the tape: * Available colors: Red,Yellow and White. * Available thickness: 1 inch and 2 inch. * Cost of each roll of 1 inch thickness, and 50 meter length: Rs 4000 * Cost of each roll of 2 inch thickness, and 50 meter length: Rs 7500 Around 8 rolls of tape was the estimate requirement to complete the entire installation.The final cost of that would come around Rs 32,000.

Tape used on Station Platform 103

MaskingTape used on Stairs

Paint and Floor marking tape

I was also looking at alternate materials, that could work if it was not possible to cover the conspicuity tape under the funds. I found floor marking tape, in the similar shades and lengths as the conspicuity tape. However, floor marking tape is not as durable as the conspicuity, and it also was not bright enough when applied on the stairs.

Paint: Using paint was a slight possibility if I had to use shades that were not available in the tapes. However, considering the material was granite, which is glossy, it wasn't sure how long the paint would last. Also using paint for creating geometric designs, was much messier than using tape, which was neat, uniform and easy to apply.

For prototyping, masking tape was the best option. It was easy to apply, and durable to last up to six months. The only drawback with masking tape was that it is not water-proof, and severe rains could affect it. But considering the fact that the paper prototype easily lasted a month, using masking tape temporarily was the best option. Also white masking tape provided enough contrast to make the image clearly visible.

Vinyl: The possibilities of using vinyl was also ruled out because of the adhesive strength of the vinyl pasteups. These are not meant to last for a long period of time, and the glossy surface of the stone required an adhesive power which is strong enough to last the everyday environment of the station space.

104

Things to consider:

further

The biggest concern at this stage was to come up with the concepts for the final installation. A lot of it depended on on-site experimentation, but the ideation stage was equally important, and I wanted to stress on that since I had the time to. Looking back and reflecting at all the feedback and experiences was necessary, as that was the best guide at this point of time. Based on the review from the exhibition, I came up with this list: Things that worked: * Contrast * 3D object distorting by physical movement * 3D object on a distorted 2D plane * Distinct visibility of object * Surprise element * Scale of the object Things that did not work: * Abstract forms * 2D irregular forms on the plane * Patterns

105

* Enough negative space to balance out the positive drawing * Clear visibility of every element. Not to entangle too many elements that would distract from the charm of recognizable elements. * Concept not being too complex for people to understand. * Simple visuals, engaging enough to arouse curiosity. *The lower portions of the 2nd and 3rd levels stay hidden until the person starts climbing.This factor can be used to enhance the artwork by using this quality. Other ideas After the brainstorming, I came up with several possibilities that could be executed on the stairs. Some of them are as follows: * Create a constant chain of visuals that reveal recognizable forms within as the viewer travels up the stairs. * Division of the three segments into three separate zones that depict an idea.The idea could be taken from the ascension of a ladder takes you higher. From the ground level, to the skies. * Some visual element that connects two segments together, and in turn connecting all together. * Merging two figures. One outer and one inner. Playing with two perspectives, and views. I could select two fixed viewpoints, and from each viewpoint only certain figures would align.This would create an interactive installation. *The existing architecture of the stair being a part of the artwork.

Exploring patterns and Abstract Geometric Figures

106

After the entire process of brainstorming concepts and ideas, I decided to come up with something that could have the right balance of concept and aesthetics. Keeping in mind that this was in a station space, an artwork loaded with concept and less aesthetics would not work well. In general, the people who would be the primary audience are mostly in a rush to catch the train, and go to the platform. So in order to catch their attention, it needed to be aesthetically interesting. The idea I had narrowed down upon is loosely based on the idea of congestion to freedom to congestion like I mentioned before. Since the staircase literally takes a person higher, from ground towards the sky, I thought about representing that through the artwork. On the first level of the stairs, I would depict a congested network of elements, geometric figures and connections. As the viewer stars climbing the stairs, he would come across the second segment, which would depict a freer environment.There would be visible elements seen breaking apart from the tangle and the connections. Finally as the viewer reaches the third and final segment, he would encounter elements that would seem to float, broken free from the congestion and the connections. This idea also references to the condition of the city, like how the roads on the ground level are congested and slow.The metro on the other hand, is at a higher level, and free from the congestion. It's more systematic, orderly and less chaotic as compared to the life below. It could be an illusion, but it works while a person is in the space

107

Exploring conncectivity of figures and segment division

108

visualizations I created several visualizations of the congestion idea. Another idea I had was about using a mix of both 2D and 3D elements in the composition.The first level could also give slight suggestions of a city and some buildings. Keeping the 3D geometric figures in focus was essential because that was one of the biggest positive feedback I had received from the exhibition and feedback.

Developing 2D Forms out of 3D Geometry

109

Visualizations for Segment One

110

segment 1

Based on the visualization, I started working on the prototype of the first segment. Again, trying to replicate an image from the visualization does not always work out the way it looks on the image. It is probably because the visualization shows the image from a certain viewpoint, from where it seems complete. On site itself, I started experimenting with newer elements.These included triangular figures, horizontal lines, and circuit like connections among the elements. I also made two dimensional visuals out of 3D geometric figures, and tried them out. I also tried out parts where a single element becomes a part of two images.The first segment managed to look like a good balance between chaos and order, which was close to what I was trying to achieve.

On-Site prototyping for Segment One

111

Exploring 2D forms on the Stairs

112

segment 3

On-Site prototyping for Segment Three

Since the second segment already had the experiments from the exhibition, I started experimenting and working on a prototype for the third segment of the staircase. The idea being followed for this segment was the opposite of the first one, to show elements that were disintegrated, and floating in spcace. I focussed on working on an image visible from a single viewpoint, as compared to multiple ones of the first segment.This gave more emphasis to the disintegration aspect.

113

Visualizations for SegmentThree

114

Visualization for SegmentTwo

Future

Based on all the prototyping, experimenting and experiences from the past, I am confident that this idea can be executed on site in a matter of weeks. Although the final visuals would need to be refined. More details and layers can be added with the addition of another color. Using conspicuity tape for this installation would give it the life it seems to miss.That would add the shine and sparkle to the site, which would be hard to miss, and difficult to forget.

115

116

117

Front Cover

Final PROPOSAL Through the process of engaging with the metro line and Peenya, change was one word that resonated with me personally.The arrival of the metro brought upon a transformation in the way the city is percieved.The artwork I had proposed dealt with the ideas of change, contrast and new perspectives.This led me to a series of anamorphic art experiments and interventions at the Peenya Metro station. These interventions were carried out on the stairs, and through the various trials and errors, I discovered tools and techniques in which this artwork could be effectively used. Having found no reference for doing these, I had to conduct them from scratch. Based on this research, I am proposing to create a concise reference guide that can be used to create similar artwork by anyone on other similar sites.

STEP BY STEP

The purpose of the first exhibition at Peenya was to gain financial support.Through the prototypes that we were exhibiting, we hoped to gain interest of parties who could possibly fund our final installations.The course was a work in progress exhibition, and my experiments had been on before and through the exhibition as well.The more experiments I did, the better my understanding of the space became. Working on the stairs was a first time for me, and it was quite challenging in the beginning. With each experiment, I learned something new, and slowly started to get a grasp of how images and colors work on the space.

The entire process involved using different techniques and materials, along with several on-site decisions on the things that worked and things that didn't. My explorations continued, and I started gravitating towards more complex compositions and shapes.There were moments where I wished that I had some reference to do what I was trying to achieve, because doing everything purely on eye judgement was a little tedious.There was very limited knowledge available in books, and very little on the internet.There were theories on anamorphic artwork in space, but nobody had tried out anything on stairs. It was a very different space, and the dynamics of it were quite different from the ones that were offered. So I had to make up my own rules and techniques that could work for me. Visualization and sketches for my final piece were also complete by the end of October. However, sufficient funding for the material needed for the installation could not be arranged on time. So work was temporarily put on hold.The challenge at this stage was to decide how to push this project further. One possibility was to execute this on various different locations, but that would not have made a lot of sense as my final artwork was meant to work on the station space.Taking my idea to different locations would mean modifying the idea a lot, and abandoning the research about the station space that I had done prior to executing. Creating a guide compiling my research seemed like a natural progression from this point, since on-site work had been paused.This book could also encourage other people to try out these experiments if possible. Also it could fill in the hole of the missing reference that I had needed.

118

THE BOOK

The main purpose of the book is to introduce others to the idea of creating anamorphic artwork on wide staircase, similar to the one I worked on.The book would take a systematic approach, stating points that are necessary to understand the idea behind it. It would cover basic principles such as perspectives, vantage points, movement. I will also include an introduction and research about the space, and how to decide if it is feasible for creating artwork. Each element that can be used for composition will be described in short, with visual examples. Using this knowledge, one can proceed to experimenting on their own, and start creating their own works of art.The book could provide a few case studies, as examples of how to make the elements work together. But the creative ability of how they choose to make their artwork would be left onto the readers.That also depends on how they choose to interpret and connect each tool.

119

120

Sections from the book

art in

The first time I encountered the name of Art ofTransit, the first thing that came to my mind was metro trains covered in art and typography. I visualized it as art that was being transported all over the city, which people could see zooming above the roads on the tracks. The actual experience of being in the project was somewhat different. I entered the project with hardly any notion of public art, and it was not an area that I could see myself venturing into. Art for me has been always been a very personal thing, and entering the public art domain was a bit challenging.

I think empathy is one of the most important factors that affect public art. If one has the ability to empathize and understand the locality, then that leads to a richer understanding and context that can be used in the artwork. Empathy is the indirect connection between an artwork and the location. An artist who can empathize well, can use that ability effectively in creating an impact through the artwork.

121

Location of the artwork matters a lot in public art.The artwork I was executing was on the staircases, and I derived the idea of ladders of success, and stepping stones from the site.The site feeds a lot into the artwork. My site guided the way the artwork shaped up. I had to observe the paths people take, and make the artwork according to that. I had to observe how people reacted to the work. Would they stop? Would they not care? Would it make them happy? Decisions had to be made in order to see what works and what doesn't.

Art is about expression and experience. Public art involves so much more than just the expression. In a space like the metro station, creating artwork was easy. But conveying the message, the idea, and the context was the challenge. It was important to understand that the viewership in public art is nothing similar to an art gallery audience.

transit The people come from drastically different backgrounds, and their perceptions of art differ a lot from the ones who visit art galleries. It was a challenge to keep this in mind, and create something which was a right balance of both concept and aesthetics. I discovered that a good example of public art was one which involved the public, in ways that would make them pause, and think.

Looking back at my own practice, it was a wonderful experience trying out something new. Having a vision was essential in a big scale project like this, and I tried to envision everything that I wanted to do right from the start. Having an idea or a vision was just the starting point, and bringing that to reality was a tremendous effort by itself. I had to develop tools that helped me achieve what I wanted to. Some of the most important tools were observation, understand the space, understanding the material, and finding effective methods to work with the materials on the site.

Finding an initial connection to the topic was slightly challenging. But by investing enough time and thought into the matter, the connections started appearing. A big part of the artistic process is finding ways to incorporate the learnings and realizations into the work. And the inclusion in the work should be such that it can be understood by the viewer if they wish to.

Public art is like a broadcasting system, where the artist has the ability to send out any messages. But it also a kind of codified broadcasting system, where it takes a different approach towards looking at it, which might finally reveal that message. As a public artist, I felt that it is their responsibility to decide the kind of message they let out for the public, and that has to be done with careful planning and intention.

122

references/bibliography Geometry of Design, Studies in Proportion and Composition by Kimberly Klam. Abstract Art by Anna Moszynska Art & Illusion: A study in psychology of pictorial representation. by E.H.Gombrich. The Art of Looking Sideways by Alan Fletcher TheTimelss Ways of Building by Christopher Alexander Creative Confidence byTom & David Kelley Visions of Symmetry by Doris Schattschneider Steal like an Artist! by Austin Kleon http://streetcommunication.co.uk/Original-new-concept-advertising-on-escalator.html# http://www.anamorphosis.com/exhibition/index.html https://anamorphicart.wordpress.com/ http://www.eschergranada.com/en/exhibition/sections/itemlist/category/13-section-3

123

acknowledgements Special thanks to the Project Facilitators, for constant guidance and support: Amitabh Kumar Samir Parker Agnishikha Choudhuri Arzu Mistry Thanks to Srishti School of Art, Design andTechnology for providing this opportunity and helping this project happen. To faculties Manasee Jog, Alison Byrnes and Kumkum Nadig for feedback and suggestions. To all the peers who have been part of the project. It has been a fantastic journey, and I hope this is just the beginning of better things to come.

124

Art has the power to transform, to illuminate, to educate, inspire and motivate.