THESIS PROJECT 2017 PROJECT TITLE
At The Brink STUDENT:
TANYA SINGH
PROJECT:
Art In Transit
SPONSOR:
Self initiated
PROGRAM:
Undergraduate Professional Programme
AWARD:
Visual Communication & Strategic Branding
GUIDES:
Amitabh Kumar, Sandeep Ashwath and Sai Mulpuru
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INTELLECTUAL PROPERTY AND PLAGIARISM STATEMENT
Copyrights 2016-2017 Student Document Publication (for private circulation only) All Rights Reserved Final Thesis Project (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, scanning, photography and video recording without written permission from the publishers namely Roshan Shakeel and Srishti Institute of Art, Design and Technology, Bangalore. Written, edited and designed by Tanya Singh Printed at Naveen Printers, Bangalore
I, TANYA SINGH, hereby declare that the content of this student documentation and final design/artwork submission is my own original work and has not been plagiarised in full or part from previously published/designed/manufactured material or does not even contain substantial propositions of content which have been accepted for an award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this thesis project. I also declare that the intellectual content of this Thesis Project is my own original work, except to the extent that assistance from others in the project’s design and conception or in style and presentation is acknowledged and that this thesis project (or part of it) will not be submitted as assessed work in any other academic course.
COPYRIGHT STATEMENT I, TANYA SINGH, hereby grant Srishti Institute of Art, Design and Technology the right to archive and to make available my Thesis Project in whole or in part in the institute’s databank and website, and for non-commercial use in all forms of media, now and hereafter known, subject to the provisions of the Copyright Act.
Name: Signature: Date:
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Proposal
Design Brief
Research Questions
To create multiple pieces of art (mostly images) in order to become cognizant of my own sense of practice as a visual/graphic artist.
1) What are the various genres/types of illustrations or drawings that I am intrigued by? Identify them. 2) What is Pop Surrealism/Lowbrow art?
I view public spaces as both, a context to respond to and a platform for finding proof of concept through experimentation with various processes and media to produce an image.
3) What is the difference between a purely aesthetic image and one that evokes feeling? Can a purely aesthetic image be evocative?
My Position
4) What is the role of impulse in the process of a visual artist?
I have employed the past three years to experiment and explore numerous media and make myself adept in various styles of illustration, primarily. I view this project as an opportunity, to not only amplify my versatility as an illustrator, but also as an avenue to understand how my images engage with the public and the kind of reactions they evoke.
5) Is inspiration always derived through accessing visceral thoughts that respond to a context?
Identical to visual artists such as Robert Beatty, Raymond Lemstra, Polly Nor, Alex Gamsu Jenkins, Dan Lam, Luke Pelletier, Fucci and Dan Whitehouse, I also intend to access the process of making intuitively; respond to a context in a more visceral manner. Just as many of the artists mentioned above create images that serve as portals to another world made by them, I am attempting to establish my own visual language and distinctive process to build images that are not purely aesthetic but evoke feeling.
Materials/Resources
Underground album artist and musician, Robert Beatty, constantly emphasizes how he does not turn to art for answers but only creates images that would raise more questions or prod the human mind. Print maker, illustrator and musician, Luke Pelletier, talks about his inspirations from childhood and how he creates images that people may not necessarily comprehend instantly. However, he says –
6) What is the role of zines as a medium of self-publishing?
• Distemper paint • Colour stainers • Paint brushes • Scaffolding/ ladder • Pitchfork Unsung: Robert Beatty https://youtu.be/DB-ECJxF6Po • Juxtapoz Magazine - Artist Interview: Raymond Lemstra https://www.juxtapoz.com/news/illustration/artist-interview-raymond-lemstra/
“I’ve decided that I’m tired of eating away at a world I don’t fit into. Through curating shows, supporting other artists, creating community, and making art, I’m building the world I want to be a part of.”
• Thinktank Gallery, INTERVIEW WITH ARTIST LUKE PELLETIER http://lukepelletier.tumblr.com/post/34322469393/thinktankgallery-interview-with-artist-luke • Fader interview with Fucci http://www.thefader.com/2016/12/19/fucci-toronto-artist-interview • Cool Hunting, Interview with Artist Polly Nor http://www.coolhunting.com/culture/interview-artist-polly-nor • Artist Dan Whitehouse https://www.instagram.com/super___freak/?hl=en • Pop Shop America, Interview with Dan Lam https://popshopamerica.com/blog/interview-dan-lam/ • Gore, Guts, & the Grotesque :: The Surreal, Acid Trip Art of Alex Jenkins https://thehundreds.com/blog/alex-jenkins-interview/
Image from Robert Beatty’s Debut Mongrap, “Floodgate Companion ” (left), Painting by Luke Pelletier (right)
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• Robert Beatty- Interview by Keith Kawaii, April 18, 2012 http://www.tinymixtapes.com/features/robert-beatty
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Approach/Process My approach to this project will certainly be self-exploratory. I will constantly question my process through the processes of artists I look up to and instinctively seem to relate with. I hope that doing so would resolve some of the pertinent questions that are raised in my mind regarding my own practice and in turn help me locate my practice in the larger spectrum of the world of image-making.
people into stepping out of their tediously conducted lifestyles. This mural is a response to site which primarily focuses on the transformation of Cubbon Park itself, into the metro station. As we move down the staircase, the organic forms that are reminiscent of the natural world, transform into a chaotic combination of rigid shapes extracted from mechanisms which we construct and encounter on a daily basis. The three stages of this transformation can be seen below.
I will be referring to a variety of visual artists who make album art, comics, zines, prints and sculptures. For example, Vietnamese-Texan painter and sculptor, Dan Lam’s journey through stages of experimenting with different aesthetics is imperative to how I will navigate through this project. “You can see the beginnings of my visual language as early as freshman year of college, so I would say my “voice” that most people identify with has been cultivating since that time.” – She mentions in an interview with Pop Shop America in July 2016. Dan went from making paintings with layers of colour that created relief on canvas, to making sculptures of polyurethane foam. She is still experimenting with a variety of gel media, glitter, rhinestones and other materials. Her sculptures are primarily process driven, however, the larger themes she talks about through them are attraction and repulsion or contrasting concepts such as control and the lack of it.
Sketches for Cubbon Park Metro Station mural This project was duly approved by head authority at the metro station, Mr. Vasant Rao. The site is situated within the Cubbon Park metro station, near Entrance C, on the wall alongside the escalator (which is yet to be installed) and the piece is still a work in progress.
Bibliography Beatty, R. (2012, April 18). “Hopefully I’m leaving people with more questions than answers.”. (K. Kawaii, Interviewer) Beatty, R. (2015, November 2015). Pitchfork Unsung : Robert Beatty. (Pitchfork, Interviewer) Fucci. (2016, December 19). Fucci Is The Toronto Artist Whose NSFW Illustrations Are Getting Gallery Attention. (K. Adams, Interviewer) Jenkins, A. G. (2016, May 4). Gore, Guts, & the Grotesque :: The Surreal, Acid Trip Art of Alex Jenkins. (B. Zio, Interviewer)
Sculpture by Dan Lam
Lam, D. (2016, July 6). An Interview With Dan Lam, Sculptor & Artist of Ooey-Gooey Beauty. (Nirvana, Interviewer) Lemstra, R. (2013, December 24). Artist Interview: Raymond Lemnstra. (Juxtapoz, Interviewer)
Artwork
Nor, P. (2015, September 7). Interview: Artist Polly Nor. (C. Carlson, Interviewer)
Organic to mechanical, wild to tamed, from natural to man-made - The Cubbon Park Metro station emerged from a transformation of space, a space that was once inhabited by nature and inveigled
Pelletier, L. (2013). LUKE PELLETIER. (T. T. Gallery, Interviewer)
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CONTENTS
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Week One Immerison and Emerging Concepts With Respect To Site
Week Two Thinking Through Site
Week Three The Commencement Of An Iterative Process
Project Profile
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Week Four Production and Onsite Engagement Through Making
Week Five Seminar #1 Just A Bump In The Road
Week Six Work In Progress
Week Seven Work In Progress
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Week Eight Work In Progress
Week Nine The Finished Piece
Week Ten The Next Steps
Week Eleven In Search For Interesting Narratives
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Week Twelve I Like Masks
Week Thirteen Seminar #2 Not All Seminars Are Bad.
Week Fourteen Work In Progress References & Further Research
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Acknowledgements
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Week One Immersion And Emerging Concepts With Respect To Site
On the very first day of Art In Transit, we were introduced to the short film, “Street of Crocodiles�, animated by the Brothers Quay. This twenty-one minute long animation is about a gaunt puppet exploring a darkened lecture hall. The comprehensive vibe of this film was surreal, experimental and eerie. In all honesty, I am still unsure of how or what I felt upon watching this film but it was notable how the experimental and curious nature of it had a certain effect on me and was consciously created in order to do so. With this, Amitabh and Sandeep eased us into our first assignment which was to create an artifact or artwork that insights a particular feeling. I chose to work with melancholy.
The second immersion exercise was relatively more pertinent to space/site. We were asked to create a soundscape out of the short recordings that we took in and around Cubbon Park. We eventually swapped the sound pieces with each other and recreated the space that the soundscape led us to. These depictions of space were supposed to be beyond what the soundscape made apparent. Through this exercise I noticed how I intend to put a face to everything and enjoy characterization.
Immersion exercise #1 : An object that insights feeling
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Week Two Thinking Through Site
I took the decision to inhabit site in the most literal way for my first intervention: A Mural, also a medium I have encountered before.
• Even though one is indoors, the individual is still in touch with the outside in a very tangible way; one can feel the occasional breeze, smell a whiff of smoke, hear the traffic and see the change of ight as time passes.
Immersion exercise #3 : Erasure
During this week of intensive making and immersion, we also made multiple visits to site (Cubbon Park Metro Station) and were asked to think about possible interventions in the space. I realized that most of my nascent proposals for conceivable interventions were playful and engaged with the space in a rather light hearted manner. This seemed to be common amongst our class and therefore, the curatorial theme for the first festival emerged - Play.
The third exercise was hinged on the concept of erasure. We were looking at erasure with respect to a specific site; in this case it was the Dhanvantri underpass. The walls of the Dhanvantri underpass which were previously adorned with images, were to be painted over with blue and white stripes by the BBMP, as one may have noticed in other parts of the city. However, a student from CKP and a Bangalorean himself, Yash Bhandari, decided to work with the existing images instead. He took the initiative to prevent the BBMP from painting over the images and using parts of them to create new narratives. Therefore, the BBMP was asked to erase parts of the pre-existing murals and Yash turned this into a participative art project which I was fortunate to be part of.
My site is located at Entrance C of the Cubbon Park metro station along the uninstalled escalator. The wall is approximately thirty to forty feet long and eight to nine feet high. I spent a significant amount of time on site and made the following observations :
• The amount and kind of light change along with the nature of the space as we move downstairs - I felt more and more claustrophobic as I moved down the stairs.
• It is an area of inflow and outflow of traffic and not many people stop here.
After reflecting upon the above, new themes and ideas emerged for me. The concept of transformation and a threshold that connects the interior and exterior captured my mind. I had also recently developed an interest in stop motion animation – The idea of an image transforming over a fixed interval of time piqued my interest. Therefore, I designed my first visualization for the site with these two concepts in mind.
• It is the only area in the station where natural light enters the space in that particular way. • It is the only space in the station where one can tell the time of the day without looking at their watch or other mobile devices.
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Iteration #1: Mock-up Visualization My first iteration was following a narrative which involved a character that transforms from an organic state of being to something more mechanical/geometric. The larger essence of the narrative entailed how different kinds of people enter this mechanism that is the metro station and are made to fit into the ridges of this mysterious vortex that resides underground.
Site: Entrance C, Cubbon Park Metro Station
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Iteration#1: Mock-up Visualization (Flip to see movement)
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Week Three The Commencement of An Iterative Process
This week was imperative to progressing in my process as we had a meeting with the director, Mr. Vasanth Rao. My proposal for the mural was rejected on the basis of it not being related to site. Mr. Vasanth Rao and another valuable mentor of Art In Transit, Arzu Mistry, pointed out how the drawn elements in my iteration were alien to the space and this may prevent the public from engaging with the space or relating to it.
I genuinely do not see a dilemma with introducing concepts that may be extrinsic to a certain kind of space but I felt that the criticism I had received was posing a personal challenge – A challenge that required me to step into a more iterative process.
Mr. Vasanth Rao also gave me the example of Artez’s mural on the opposite entrance of the station. It was a large scale piece that created the atmosphere of a forest and he thereby implied that this piece was more related to the site, which is Cubbon Park.
I knew I wanted to keep the core ideas of transformation and the connection of the interior and exterior and only change the characters of my last iteration. I drew elements that were not directly referenced from site but made references to the site.
I took the day off from site and started from scratch. Journaling is at the top of my list as a thinking tool and hence, I was back to it with a vengance.
Excerpts from journal 36
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Excerpts from journal
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Illustration by Polly Nor from “Halfway To Nowhere”
Oceans Comic by Evan M Cohen
My final visualization was influenced by artists such as Polly Nor, Evan M Cohen and Kerby Rosannes. Polly Nor’s work in the music video, “Halfway to Nowhere” by Chelou, was particularly influential. I enjoyed how she created density through her usage of colour, simple forms and patterned lines for rendering.
Evan M Cohen’s comics have resonated with my approach to narratives and the concept of time with regard to comics or what I like to call the “graphic space”. Evan’s comics are often just about a moment in time; this moment may only last for a couple of seconds in real time and space but in the graphic space, he prolongs this moment with the help of visual detail, as one can notice in a page from his comic above.
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Final Itreration Part #1 Illustration by Kerby Rosanes As one can notice alongside, Kerby Rosanes’s work employs the concept of using smaller drawn elements to create a larger character/composition which is visually balanced. He works with micro tip pens ranging from 0.05 to 0.1 tips. I have been looking at his work for the past four years and have come to admire how he uses his doodles to create large detailed pieces. This process is empowering as it retains the spontaneity which is yielded by the act of drawing, or as I would like to call it, “doodling”.
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Final Itreration Part #3 Final Itreration Part #2
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Colour Palette Options
Colour Palette Options
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Project Profile Organic to mechanical, wild to tamed, from natural to man-made - The Cubbon Park Metro station emerged from a transformation of space, a space that was once inhabited by nature and inveigled people into stepping out of their tediously conducted lifestyles. This mural is a response to site which primarily focuses on the transformation of Cubbon Park itself, into the metro station. It also acts as a connection between Cubbon Park (outside) and the Metro Station (inside). As we move down the staircase, the organic forms that are reminiscent of the natural world, transform into a chaotic combination of rigid shapes extracted from mechanisms which we construct and encounter on a daily basis in our lives.
Final Colour Palette
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Week Four Production And On-site Engagement Through Making
Working in Public Spaces has its own charmThe audience becomes a part of one’s process as they witness each and every step that goes behind the making of the final piece. The act of making engages the public more than the image itself and naturally so, because as I reveal the ropes of my process, people relate more easily to my practice as an image-maker/ graphic artist. Many of the passers-by were curious as to what medium I was using on the wall. When I told them that I was using emulsion paint with strainers and showed them how each colour is made by mixing it in front of them, I received a variety of responses ranging from “Oh! That’s it?” to relatively more awed ones succeeded by very encouraging remarks and comments.
Another valuable outcome of letting people into the process of production is that it sets up a constant dialogue between the audience and the artist, which is essential to me as the artist as this allows me to be in the perpetual loop of feedback and execution. I received worthy input from many people who saw me working at the station. A student of architecture had some pertinent advice to give me. She mentioned that as someone who designs spaces and truly cares for them, she felt that my work ought to be better connected to Artez’s mural on the other entrance of the station. She felt it would lend more consistency to the space as opposed to having disconnected visual-nuggets strewn around the station. While I completely respect the opinion stated above, I beg
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underwater scenery due to the colour scheme and the forms which seem to resemble sea urchins. These conversations, remarks, comments, etc. proved to me that the development of a concept is directly proportional to the level of interaction with the public.
to differ. I am trying to inhabit space through my practice as an image maker. I treat the metro-station/ public space as both, a context to respond to and a platform for finding proof of concept through experimentation with various processes and media to produce an image. By this I do not mean to disregard what already exists in the space but only add to it in my own distinctive way.
A particularly amusing instance was when a group of European Tourists were passing by and I overheard them talk about how European street artists vandalize with spray cans but in India, people use paints and a brush, thereby respecting the “skill” and the public space too. The irony lies in the fact that many Indians think what we do is unnecessary and as redundant as vandalism unless it is a painted advertisement or a religiously relevant image.
Among other conversations with the public, I learnt more about my piece as many people read into it differently; new connotations emerged. Someone compared my piece to the state of our planet today, thereby attaching other meanings to its transforming nature. Quite a few people thought it looked like an
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Work In Progress
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Week Five Seminar #1 - Just A Bump In The Road.
For the first time, our seminar was held on site. It was a new format and had to be tackled very differently. All the proof of work was tangible as opposed to documented pictures on a screen. Seminar one was not a good one despite the fact that I spent twelve hours a day on site for a week, in order to finish one-third of my mural. Ironically enough, I was told that I had not shown the jury enough to respond to and hence, they could not give me feedback. I did not receive any constructive criticism from my jury and was told that I had it too easy. I was informed that my work was not sensitive to the space and the people that frequent it and that
I am just a priviIeged artist who is not empathetic and ignorant.
I was extremely nervous and tongue-tied and hence, probably underplayed all that I had achieved just in a matter of four weeks. I was physically tired from the hours spent on-site and did not defend myself as I rightfully should have in that situation. However, I learnt from this seminar that it is absolutely essential to defend one’s self when required and that if it all seems too easy, I need to challenge myself further.
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Week Six Work In Progress
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Week Seven Work In Progress
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Week Eight Work In Progress
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Week Nine The Finished Piece
After one and a half months, I finally finished the largest mural I have ever done, yet. I was off to a slow a start but eventually gathered momentum and became extremely comfortable with handling the height, the rickety yet sturdy wooden scaffolding, worn out brushes, drips and the consistency of paint.
opportunity to have in depth conversations with people. Two Students of Pychology from Mount Carmel college helped me with great enthusiasm. They even offered to bring a group of their friend sto help the next day.
I also encountered a Lawyer who thought she was in the wrong profession and should have pursued graphic design. Many students from Christ College would also stop by to keep me company as I worked my way to finish the piece.
In the last week, many people who frequented the station, volunteered to help me. I was hesitant at first but eventually gave the brush to people. They helped me with simple colour blocking and I also got the
Battered and bruised, ammunation spent.
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Week Ten The Next Steps
I assumed that finishing my biggest mural yet might be overwhelming but infact, it was quite the opposite. I felt nothing but a little relieved. I did not know what my next steps would be as I was still exhausted from the previous weeks, both pysically and mentally. I did not know if I wanted to take the same concepts forward but I definitely knew that I did not want to work with the same medium for the next intervention. Therefore, I took a much needed break and gave myself some time to think and reflect upon what I had done.
I spent time journalling and helping my colleagues with their projects as I did not want to sit idle and waste time; thinking can happen while doing other things as well. I learnt a fair amount about paste-ups and what goes into producing a comic, as I helped Antra and Madhav with their respective projects. I also engaged in some interesting conversations with Swedish comic maker and teacher Oskar Aspman. He talked about how one can add value to the product they are selling by giving the public an experience to take a way with it.
Excerpts from Journal
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Experimentation
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Experimentation
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Experimentation
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Week Eleven In Search For Interesting Narratives
I was still hunting for ideas for my next intervention and had been engaging myself with various activities besides journalling. I attended a talk by Amitabh at the Goobe’s Book store on Church Street where he spokke extensively about the history of comics in India. The talk was attended by many like minded people and prolific comic and graphic artists themselves; namely George Mathen, better known as Appupen. My interest in the growing independent comics scenario in Bangalore began to increase. The idea of self publishing is rather appealing, being an
illustrator myself and the same thought was shared by many in the city including Appupen, deadtheduck, Anpu Varkey and other graphic artists of the city. I was quite intrigued by the potential of making comics for a living and thought I new my next steps.
I knew I wanted to work with narratives and print media but now needed to find my story. Therefore, I went to the studio in the metro station to start brainstorming now that I had direction and ended up making an eight page silent comic(see next pages) on-site.
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Week Twelve I Like Masks
I wandered some more about the city and during a cab-ride back home to Yelahanka, I had an unanticipated epiphany as we were passing Hebbal and I saw a shop on the highway which sold Nazar Battus, or as the locals like to call them, “Dhrishti Ganesha”. I have always been intrigued by masks and realized that I had tried to work with the concept of Nazar Battus in my first year as well but never managed to do so. It seemed like a good time to finish what I had started so long ago and so I began to dig deeper and learn about my attachment to this
object which definitely characterizes the city. Also known as the “Kirtimukha” (which translates to “the face of glory”) this mask is a recurring element in Indian temples or found placed above the door frame of homes. Certain myths seek to explain how this seeming incongruity came to occupy this extemely respected position. I picked one to move ahead with: The occasion was of a time when there came Shiva an audacious demon who had just overthrown the ruling gods of the world and now came to confront
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the highest of all with a non-negotiable demand, namely, that the god should hand over his goddess to the demon. Well, what Shiva did in reply was simply to open that mystic third eye in the middle of his forehead, and puff! a lightning bolt hit the earth, and there was suddenly there a second demon, even larger than the first. He was a great lean thing with a lion-like head, hair waving to the quarters of the world, and his nature was sheer hunger. He had been brought into being to eat up the first, and was clearly fit to do so. The first thought: “So what do I do now?” and with a very fortunate decision, he threw himself
upon Shiva’s mercy. Now it is a well-known theological rule that when you throw yourself on a god’s mercy the god cannot refuse to protect you; and so Shiva had now to guard and protect the first demon from the second. Which left the second, however, without meat to quell his hunger and in anguish he asked Shiva, “Whom, then, do I eat?” to which the god replied, “Well, let’s see: why not eat yourself?” And with that, no sooner said than begun. Commencing with his feet, teeth chopping away, that grim phenomenon came right on up the line, through his own belly, on up through his chest and neck, until all that was left
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was a face. And the god, thereupon, was enchanted. For here at last was a perfect image of the monstrous thing that is life, which lives on itself. And to that sun-like mask, which was now all that was left of that lion-like vision of hunger, Shiva said, exulting, “I shall call you Face of Glory, ‘Kirttimukha’, and you shall shine above the doors to all my temples. No one who refuses to honour and worship you will come ever to knowledge of me.” That is the meaning of the monstrous Kirtimukha, ‘Face of Glory’, over the entrances to Temples and homes.
This myth went hand in hand with my previous ideas of transformation and connecting the interior and exterior. The kirtimukh is placed on the exterior façade to protect the interior by capturing bad omen. It acts as a sieve/threshold which purifies, thereby connecting the interior and exterior. I had successfully found my area of interest but was still unsure as to what my intervention might be about so I waited to present my reasearch so far, to my jury in Seminar two.
Kirtimukha Mask found at the entrances of homes
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Week Thirteen Seminar #2 - Not All Seminars Are Bad.
Unlike Seminar one, Seminar two was helpful and resolved the last of my doubts. I had concisely presented everything I had done so far; pointed to my interest in masks, the Kirtimukha in particular, and my urge to work with its context.
While my jury was quite perplexed as to how I made the connection between my first intervention and the mask, they appreciated the myth which I narrated to them shortly. A public space design faculty on the panel, Ishita, was intrigued by the story. She told me
that she was fascinated by the Kirtimukha too when she first came to Bangalore and tried finding out about the story behind it but was unable to do so. She further suggested to me to communicate this story through my intervention, in the form of a series of masks or even a comic, as she had looked at my short eight page comic. Unlike any other feedback I had ever received, these suggestions excited me and I decided to make an A3 size silent comic about Kirtimukha, as discussed.
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Week Fourteen Work In Progress - References & Further Research
Big Mother by Raymond Lemstra
The book,“Big Mother� by Raymond Lemstra is a solid reference for my comic. Raymond Lemstra is a Dutch illustrator who draws masks in his own distinctive style with graphite pencils, water colours, brush pens and other media. The book mentioned above inspired me to work bigger and draw A3.
I also researched more visual adaptations of the myth and was surprised to find that not many exist despite its mention in various religious texts.
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Acknowledgements DISCLAIMER: Cheesy graduation speech material alrert.
Antra & Saksham for sticking with me in the resistance against certain individuals who believe we are not troubled enough as artists. Sagarika for being you! Dev I didn’t know how to justify text earlier, now I do. Thank you! I still have so much to learn from you. Sujat Roy , my favourite junior. I owe you so much and that pile of.. owing, just keeps getting bigger. Thanks bish. Mom for handling my terribly moody behaviour and your active participation in giving me feedback. I hate to admit how right you can be but you are and it is only now, that the stress is over, that I can appreciate your advice. Dad for being forever supportive despite knowing how utterly hopeless I am. Amitabh for pushing me constantly but also having faith in me.. Despite me. Madhav you already know.
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THESIS PROJECT 2017 PROJECT TITLE At The Brink STUDENT:
TANYA SINGH
PROJECT:
Art In Transit
SPONSOR:
Self initiated
PROGRAM:
Undergraduate Professional Programme
AWARD:
Visual Communication & Strategic Branding
Final Examination Panel COMMENTS:
Examiner 1 (name and signature): Examiner 2 (name and signature): Examiner 3 (name and signature): Date:
Academic Dean:
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TANYA SINGH Final Thesis Project 2017 (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka
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