Beauty Renewed: Recycled Art & Artists in India by Wahid Khan

Beauty Renewed:

Recycled Art & Artists in India

Robin Passi

Beauty Renewed:

Recycled Art & Artists in India

Akshay K. Rajpurkar Anita Ahuja Arunkumar H G Avni Sejpal Brinda Miller Ilyas Ahmed Kausik Mukhopadhyay

Nek Chand saini Radhika Khaitan Mittal & Madhvi Khaitan Robin Passi Sahil & Sarthak Shabnam Gupta Sharmila Samant Shilpa Joglekar

Index Beauty Renewed: Recycled Art & Artists in India Introduction................................................................................................................................................ 4-5 Akshay K. Rajpurkar..................................................................................................................................6-9 Anita Ahuja...............................................................................................................................................10-13 Arunkumar H G........................................................................................................................................14-19 Avni Sejpal............................................................................................................................................. 20-25 Brinda Miller........................................................................................................................................... 26-30 Ilyas Ahmed............................................................................................................................................ 32-37 Kausik Mukhopadhyay........................................................................................................................38-41 Nek Chand Saini.................................................................................................................................. 42-50 Radhika Khaitan Mittal & Madhvi Khaitan.................................................................................. 52-56 Robin Passi.............................................................................................................................................58-63 Sahil & Sarthak.....................................................................................................................................64-69 Shabnam Gupta...................................................................................................................................70-73 Sharmila Samant..................................................................................................................................74-79 Shilpa Joglekar..................................................................................................................................... 80-83

Beauty Renewed: Recycled Art & Artists in India Beauty Renewed: Recycled Art & Artists in India is a collection of interviews of artists and designers from across India, whose art is ecologically sustainable and made from recycled items. With the help of photographs, we have compiled the artwork of some of the best-known and most talented names in the field of recycled art, as well as the creations of some bright new artists. With this collection, we hope to increase the awareness of artists and art lovers alike about the importance and potential of environmentally friendly art and design. The world is changing rapidly. According to the Copenhagen Diagnosis in 2009, carbon dioxide emissions are at an all-time high, and the average temperature of Earth is rising at an unprecedented rate. And will continue to rise. As a result of this global warming, sea levels are rising, natural disasters are becoming more and more common, and the ecosystems are undergoing serious transformation. In addition to the global warming crisis, our planetâ&#x20AC;&#x2122;s natural resources are being used at a faster rate. With developing nations becoming leaders in industry, the consumption of both renewable and nonrenewable resources worldwide is increasing as well. In the face of these enormous environmental concerns, we must ask ourselves what our planet will look like in the future, and more importantly, what role are we playing in this change.

increased emissions of carbon dioxide, and the overuse of resources. One response to these growing environmental problems is Recycled Art and Design. Recycled Art is a movement that seeks to create sustainable artwork from materials that have been previously used for other purposes. There are many artists and designers in India who are a part of this movement, who seek to change the way we view art and our own footprint upon the environment. By practicing recycled art, these artists not only save their materials from ending up in landfills, but also reduce the need for art supplies that are made from valuable and limited resources. Beyond the environmental impact, the final creation of recycled art is not just a singular piece of artwork, but rather a deep, complex story that forces the art enthusiast to think not only about the workâ&#x20AC;&#x2122;s present form, but also the intertwining pasts of every reused item in that one work of art. The smallest ingredient of a recycled piece tells a narrative, and has an association to its past. A talented artist can manipulate those narratives to get a new message across. This historical aspect of recycled art gives the artist much scope to play with the feelings of his audience, in a way that is quite unique.

India is changing as a nation and culture. And this change brings with it a whole new set of environmental implications. Whereas, in the past, it was considered culturally inappropriate to throw away excess or unwanted food, today, food waste is a fairly commonplace occurrence, especially in hotels and restaurants. Previously, there were few items that came packed in plastic wrapping; now, everything from milk to produce comes individually packaged. Cultural changes such as these are turning India into a throwaway culture.

This book is a collection that hopes to inspire the reader to rethink how he or she looks at trash. We hope to bring out the potential in what is cast aside, and to teach our reader to value the resources that are all around us. This is the type of thinking that can bring change to our throwaway society. Please enjoy the work of these talented artists.

It is often the role of the artist to remind people of the state of the world, and of the responsibilities that mankind has as stewards of the environment. As India evolves, art is also changing in response to the

Robin Passi

Akshay K. Rajpurkar is an artist who has always enjoyed experimenting with different materials, and did not want to limit himself to just using paint on a canvas. It was this desire to explore the use of different mediums and materials that motivated him to start working with recycled materials. As he began examining the works of different artists, he was deeply inspired by Rajiv Sethi and Nek Chand Sainiâ&#x20AC;&#x2122;s Rock Garden.

akshay K. rajpurkar

When working with recycled materials, he uses any product he considers interesting, and products that have not yet reached a stage of decomposition. For instance, he lately began using defunct electrical circuits in his artwork. Recently, while creating an installation artwork, he decided to use discarded coloured foil as well, in addition to the used electrical circuits. So why does Akshay use electrical circuits? â&#x20AC;&#x153;I believe that recycled materials, in particular electrical circuits, resemble communities and cities, where each individual component of the circuit is linked to another as is each human being in the city of Mumbai.â&#x20AC;? Having grown up in the crowded city of Mumbai, Akshay sees his work as a palimpsest of intrinsically interlocking or overlapping circuit boards and fibred wires, each affecting the meaning of the other. For Akshay, the diversity of this vibrant city, from its posh high-rise towers to the slums of Dharavi, is a study in contrasts. Which is why he tries to contrast his work, allowing every frame to stand out. Combining all these factors to create a representation of a metropolis from electronic waste is what makes his work truly unique. According to Akshay, both developed and developing nations are reaching new landmarks in the field of technology, art, and science. The type of waste materials we see today are quite different to what we would have seen a couple of decades ago. Art created from recycled goods is, thus, also evolving and changing, reflecting these advancements in the world.

Materials: Electrical Circuit Boards, Shirt Buttons, Electrical Wires, Fibre Optic Lights

Anita Ahuja, an internationally acclaimed artist, an award winning designer, and a writer, likes to call her artworks ‘wastescapes’. In her endeavour to create a greener Earth, she uses any waste scraps she finds to create her art; this includes, but is not limited to, plastic bags and tyre tubes. The inspiration for her work comes from the environment around her: the colours of flowers, the trees, landscapes, and seascapes.

Anita Ahuja

Anita is also the founder of Conserve India, a social enterprise that has grown from a small local experimental project into a huge tree of life, providing shade to 300 people. This project is remarkable in several ways: a special, human capital structure of rag pickers serve as both suppliers and employees, producing a unique product range of fashion accessories, including handbags, made with waste material such as plastic, tyre tubes, labels, seat belts, and more. During her journey as a social entrepreneur, Anita has received many accolades, and is the recipient of the Bill Clinton Letter of Commendation, and the Women Empowerment Award from the Chief Minister of Delhi, Shiela Dixit. Inspired by her work with rag pickers, Anita decided to explore the nexus of art and science, and how the creative process illuminates ‘Waste as an Art’. The fact that she has managed to carve a niche for herself in this endeavour was perfectly demonstrated in her recycled art exhibition, ‘Season 3: At War with the Obvious’, which has successfully completed its third phase. What makes her work distinct is that she works with an extremely wide variety of waste streams. Her work with labels and plastic bags implements a unique technique, which applies a heating and fusing method to destroy the molecules that the bag was originally created with. Hence, a beautiful artwork is transformed through the process of destruction, and this appeals to Anita’s sensitivity. All of Anita Ahuja’s artwork carries a social message, whether it is about minimizing waste, or about climate change, carbon credits, the ability of art to forecast fashion, the influence of fashion on consumers, or the influence of consumers on brands and corporations.

Beehive | Materials: Tyre Tube and Industrial Belt | 50” x 40” | 2013

No More Place | Material: Tyre Tube | 50” x 40” | 2013

Gurgaon-based Arunkumar H G believes that many used materials still have life left in them, and can be used for other purposes. In his art-making process, he capitalises on the audience’s familiarity with the object’s previous life, its history, and its leftover life to derive a desired context for its future use.

ArunKumar H G

“I use any medium or material, which suits me for a particular idea I may have at that time. So far, I have used materials ranging from plastic bottle tops, discarded dining plates, and polythene bags, to old machine or computer parts and used toys. Through the use of recycled materials, my message is direct, straightforward, and making a statement of its own.” According to Arunkumar, one of the principles of his art-making process is to respect the material, and not to abuse Earth’s resources. After understanding the lifespan of different materials, Arunkumar begins thinking about how to work with the products he finds. He often visits industrial scrap yards, local kabadiwalas (scrap dealers), and at times, even explores large landfills that are a dumping ground for materials that still have a life. It was during these visits that he noticed that many of the materials looked the same even after months of lying out in the open, and could probably still be used. That is when he realised that human beings could often be ignorant. He decided to pick up some of the materials to experiment with his ideas, and was amazed with the results. This became his inspiration to experiment further. For Arunkumar H G, each piece of material he uses inspires him to come up with a new statement; some times, an idea demands a specific material to be used in the process of making art. His thought process begins with inspiration from his living environment. For instance, in one of his pieces of art, he used heaps of burnt matchsticks collected from his home to make a statement on deforestation. Similarly, he used polythene bags, again collected from his home, as fillers in another piece of art he created. Recently, he used around 70,000 plastic bottle tops to create an artwork in which he was making a statement on ecology. His strategy is to make a visually appealing form or image with used materials to attract the viewer from a distance. On coming closer to the artwork, the material reveals its message to the viewer. Arunkumar believes in the future of recycled art. According to him: “The imbalance in the production of waste and its disposal is a growing problem, and in many ways this will disturb the overall wellness of society. As a result, artists and designers will be inspired to use recycled materials to remind us to think about and respect the Earth’s resources. This, in turn, can inspire scientists and policymakers to develop more sustainable solutions.”

Droppings and the Dam(n) | Materials: Used Plastic Bottle Tops and Steel Wire | 96â&#x20AC;? in height | 2014

Varaha (The Pig) | Materials: Polythene Bags and Steel | 50” x 60” x 46” | 2010

His Shoes | Materials: Old Slippers, Thread, Glue | 72” | 2011

Avni Sejpal was inspired to use recycled material when she noticed that a lot of luxurious Indian silk saris were being discarded, simply because of some minor defects or stains acquired over a period of time. To her, the sari represents the quintessential heirloom, weaving stories of the culture and society that we inhabit in its folds. Thus, Avni was inspired to offer a new lease of life to this drape, thereby accentuating its glory and richness in all forms, and adding to its value. “Once the prototype was ready, I could not believe the rich fabric had been previously discarded. As I held the pieces and examined them closely, they looked and felt as if they were new products, even though they were not.”

Avni Sejpal

Whilst her focus has been on using recycled textiles, she draws inspiration from many different areas: art, Japanese graphics, fashion, David Lachapelle’s photographs, comfort food, as well as exposure and interactions that she has experienced during her extensive travels. Avni thinks that there is a future for art made from recycled goods. In her words: “This is the only way forward, our planet can only accommodate so much waste. One will be pleasantly surprised with what can be created out of discarded objects.” Avni believes that recycled art adds a point of view, a much-needed perspective to consumer behavioural patterns, and offers a unique identity. “I like to think of my designs as straightforward and intuitive. Design that has a narrative born from an idea, and is not bound by a particular discipline. Designs that strive to create experiences, that excite, captivate, and connect with the end users.”

Bindi Dot Pouf | Materials: Upcycled Silk Sarees, Cotton | D 20” x H 15”

Upcycled Sarees Stools – Saree Pom Pom Stool Series | Materials: Upcycled Silk Saree, Mango Wood or Acacia Wood – Sheesham Wood | D-14” x H-20”

Upcycled Silk Sarees Pom Pom Pouf | Materials: Upcycled Silk Saree, Cotton | D-18” x H-15”

The Royal India Turban Series – Pagri Series Stool | Materials: Upcycled Silk Saree, Mango Wood or Acacia Wood – Sheesham Wood | D-14” x H-20”

Brinda Miller

Brinda Miller’s sensibility for recycled art was inculcated in her as a child. “From a young age, my family made me aware of the importance of using all the materials I had access to carefully and economically.” As a result, when she grew up, the practice of using recycled materials was not a conscious decision. Rather, it was a way of life for her, a way in which she had always worked. Brinda vividly recalls watching her mother sell used tins, beer bottles, plastic milk sachets, and newspapers at her doorstep when she was a child. What made an indelible impression on Brinda was that her mother did not do so for the money, but to ensure these materials were being recycled. Brinda still sees such practices being followed in India, and believes that it is important for each household to take such steps in order for us, as a nation, to be environmentally responsible. When asked about the mediums she uses for her art or design, Brinda explains: “I have a textile design background, and this is the reason I am drawn to textures. I mostly use cloth, canvas, textured paper, matting, netting, and various two-dimensional materials that have a tactile three-dimensional feel to it. I experiment a lot with layering and perspectives.” Brinda draws inspiration from her travels, which she indulges in extensively. The landscape, as well as the diverse cultures of each city she visits, stimulates her. While travelling, she is always on the look out for any material that she can pick up and use in her art, be it a crushed can or even a piece of broken glass from the street. Brinda began using recycled materials in her art when she was studying in New York. As a student on limited funds, she found art materials very expensive, and, thus, began looking for discarded objects that she could use. She remembers tearing up her old shirt, and using it as a background to paint on. “I was like a rag picker!” As she grew up, however, she became more discerning, and over the last many years, she has developed this practice into a true art form, in which her art is abstract and layered. According to Brinda, given that the educated younger generation is more aware and appreciative of recycled goods, the future of recycled art should be bright. Furthermore, she feel very positive about the future of recycled art since she finds that those who are genuine patrons of art are also patrons and philanthropists who love the city, and, thus, often support the environmental cause as well.

Butterfly2 | Mixed media on Canvas and Paper (digital print, acrylic, enamel, paper and net collage) | 17” x 17” | Year 2013

Fish, Flower, Butterfly1, Palm Tree, Butterfly2 | Mixed media on Canvas and Paper (digital print, acrylic, enamel, paper and net collage | 17” x 17” | Year 2013

â&#x20AC;&#x2DC;A -MAZEâ&#x20AC;&#x2122; Installation at Kala Ghoda Arts Festival Collaboration between Arzan Khambatta and Brinda Miller A maze made of metal frames and recycled plastic bottles (a depiction of water shortage) Year 2013

Ilyas Ahmed, a recycled art artist living in Bangalore, was drawn to this art form by his love for welding, and his focus on being unique. A true veteran in this field, he has been creating recycled art since 1997. In creating his art, the medium Ilyas uses is iron, which he sources from automobile junk. Since the latter contains high quantities of chromium, Ilyas manages to ensure that his sculptures, which are displayed outdoors, are not impacted by the elements.

Ilyas Ahmed

A strong believer in the future of recycled art, Ilyas believes that the audience has a unique connection to this art form. â&#x20AC;&#x153;The audience can relate and derive meaning from the materials I use, as they also have used and discarded similar materials in the past. Thus, I hope that each person viewing my artwork will be able to relate to my art in a unique way, deriving meaning from their own stories and history of using these materials.â&#x20AC;?

Squirrel | Material: Automobile junk (metal content of high chromium) | 18” x 8” x 12”

Deer | Material: Automobile junk (metal content of high chromium) | 82” x 24” x 90” | Year of Mfg: 2014

Camel | Material: Automobile junk (metal content of high chromium) | 94” x 39” x 85” | Year of Mfg: 2014

Bull | Material: Automobile junk (metal content of high chromium) | 90” x 36” x 54” | Year of Mfg: 2013

Kausik Mukhopadhyay

For Mumbai-based Kausik, the use of recycled materials overpowers the aura of the artist. Traditionally, the question of who the author or creator of the artwork is lies imprinted in the artwork, in what we popularly call “style”. Kausik says: “We recognise the artwork as a valuable object as it is done by such and such artist/s, whose signature is seen in the work as a kind of brushstroke, handling of form, colour, composition etc.” But in a recycled object, these ‘signatures’ are not present. These objects are one of many found in the markets or in junkyards, where one object is as good as another, and each exists without the artist. The only claim the artist can make with regards to the object is that he or she chose it. Kausik also uses a lot of ready-made objects for the same reason. “The junk or ready-mades at times can trigger off a work, and sometimes I have to search for one, and then come up with a totally different one, which might change the course of the work. These uncertainties create a play of chances in the process.” Trained as a printmaker, Kausik mainly used the intaglio technique, and enjoyed the plate more than the print. Bored of the technicalities, he created paintings on glass for some time, incorporating images from newspapers and magazines with painted images. He started layering these pieces of glass, and in doing so, turned them into boxes into which he started putting objects (mostly junk items he had collected). Many of these boxes contained electric motors and lights. The images reflected Mumbai, its homes and streets, and played with both reality and fantasy. Once the objects came out of the boxes, they were almost like body parts, which could be taken out and played with. Kausik then began creating large, moving, toy-like works made of discarded objects. The process of making these works also involved a process of ‘repair’, which in itself evolves the art form. Kausik believes that the turning of recycled objects into a category of art can lead people to producing “pretty” objects made from junk. He also believes that considering recycled art as a solution to our environmental problems is naive, since the problem of ever-increasing amount of waste cannot be solved so easily.

2000-01, Assisted Ready-mades: chairs, discarded chairs, paint, wood and other objects

One of Indiaâ&#x20AC;&#x2122;s most renowned recycled art artists, Nek Chand Saini is currently the Creator-Director of the Rock Garden in Chandigarh. The story of how he was inspired to create recycled art is fascinating, and one that dates back to his childhood.

Nek Chand Saini

â&#x20AC;&#x153;Growing up in my village (now in Pakistan), my mother would often tell me stories about the life of the kings and queens who lived close to our village. Those stories were my inspiration behind creating a kingdom of my own. As I grew older, my dreams stayed with me. However, I had no resources to fulfill them. Without the resources to buy new things, I discovered how to use discarded items instead. Over time, my inclination to create artefacts and other items of decoration from broken pitchers and bangles increased. That is why I never allowed my parents to throw away any broken household items, and I would often rummage through the neighbourhood junkyard looking for inspiration. As I did so, my parents and friends would encourage my resourcefulness. Later, when I was employed as a Road Inspector with Chandigarh Administration, I would go around the city, and visit various industrial and household waste yards. I hated the fact that people would litter, and took it upon myself to use these items to create a collection made entirely from waste items.â&#x20AC;? Nek Chand Saini uses a number of different materials in his art, including concrete, which he uses as the main material to bind together various components. The role played by concrete is evident throughout his work, from the gentle folds in the clothing of his female sculptures, to the giant pillars that support the double swings. These were produced using similar methods to that of the great architect, Le Corbusier, where flowing curves of concrete were achieved by constructing complex shuttering to hold the liquid material in place, and then removing it when the concrete had set. Other raw materials used are discarded objects, such as frames, mud guards, forks, handle bars, metal wires, marbles, crowns of soft drink bottles, porcelain, auto parts, broken bangles, burnt bricks, and even human hair recovered from barber shops. In creating his art, the first challenge Nek Chand faced was collecting the materials. Heading out on his bicycle, he used to collect stones from the Shivalik foothills and neighbouring riverbeds. Since the site where the Rock Garden stands today was previously used as a dumping ground for urban and industrial waste, he would often pick up pieces of foundry, lime-kiln, and metal workshop waste, and shape them creatively, resembling human, animal, or abstract forms. He also garnered a variety of debris from demolished structures, discarded streetlights, electrical fittings, broken sanitary ware, and crockery. In addition, he collected a large number of broken bangles from different fairs organized in and around Chandigarh. Gradually, people began donating their own broken household items to him.

Nek Chand Saini’s motto... “Nothing can be wasted.” The materials for many of his sculptures were collected from the demolition sites of old villages, and included discarded bicycle frames to act as armatures for the fingers, with the forks used as structures for legs, and saddles transformed into animal heads. He found that it was a lot easier to collect waste material to create artefacts during the days when Chandigarh was evolving into a modern city. For him, the choice of using recycled material was natural since it was easily available without any cost, and there was no fear of its being spoiled or going waste. Nek Chand Saini has depicted the social and culture lifestyles and events of the Indian people, particularly the rural masses, in his work. These events signify their togetherness, and how interconnected everything is. Animals represent an important aspect of everyday life, especially in village fairs. One would often come across professionals enacting the roles of monkeys, bears, and snakes during such fairs. The animals and birds displayed in the Rock Garden are a common sight in village pounds and fields; and Nek Chand wanted to make his audience realise the importance of fauna. In fact, he has tried to provide a natural ambience in the complex by creating two waterfalls and a man-made stream of water with ducks; trees have been planted within the area so that birds may dwell in them. While Nek Chand Saini has no disciples, he regularly runs workshops for school children. Over time, people have grown more positive towards the preservation and development of the Rock Garden, and appreciate the creativity when witnessing the utility that broken ceramic, electric fuses, fluorescent tubes, and bicycle saddles can provide. Visitors from all over the country flock to Chandigarh to visit this park, and local residents consider the Rock Garden as a platform to participate in the cultural events of the region. According to Nek Chand Saini: “Man is a social animal and cannot afford to remain secluded.” The problems that plague ecology are clearly man-made, and thus, man is destined to make things right. He believes that we should shun our self-centred attitude, and channelise our energies towards conserving the environment. “Everyone can try to do his or her bit to replenish the environment through waste management. Likewise, we should identify ourselves with one another, and should not forget how all of us are united when it comes to creating a healthy community. That is exactly why, in my work, I have provided an emphasis on nature conservation and recycling of waste materials. The Rock Garden upholds the cause of preserving the environment, and replenishing our natural resources, and propagates this unique idea amongst all our visitors.”

Waterfall at Rock Garden, Chandigarh

Radhika Khaitan Mittal and Madhvi Khaitan were inspired to work with recycled materials given the uniqueness of these items, and the lack of awareness of how to use these materials in India. They decided they wanted to give a new meaning to the term ‘Green Design’, and prove to people that being eco-friendly can also be lots of fun, and does not need to be confined to rustic looking earthy products.

Radhika Khaitan mittal and Madhvi Khaitan

Their business plan was conceptualised purely on the notion of reusing waste. They started experimenting with different materials and various kinds of waste to see what they could do with them, and found that the possibilities were endless. Radhika and Madhvi found that waste, if worked upon in the correct manner, could be given a whole new look and meaning. They still remember how it all started when they were invited to view the waste material at a friend’s aluminium factory. Their journey began at this factory when they spotted big crumpled balls of coloured aluminium waste, and decided to work on them as a project. Radhika says: “Reusing waste explicitly is a solution to the looming landfills. When my sister and I started WorkshopQ, we were often asked if WorkshopQ could change the world. We responded to that wide-ranging question by saying that we probably could not change the world, but small changes can make a big difference, so there is no reason not to start trying, and the more people that choose the eco-friendly option, the bigger the difference we can make collectively. At WorkshopQ, we infuse discarded materials with new value, prolong their life, and divert them from landfills.” What sets Radhika and Madhvi apart from others is that their products cannot be recognised as being made from waste – this is only revealed when someone reads the storyline about the product. The products are unique, quirky, and fun, and can fit into any kind of environment, be it calm, contemporary, kitsch, or traditional. Radhika and Madhvi are glad to see that sculpture artists have now taken to creating splendid art pieces from e-waste, machine gears, paint buckets, and plastic bottles, all of which are used as statement pieces in interior spaces. Tetra packs and rubber tyre recycled pieces are also widely available in the market now in the form of fashion accessories and stationery items. Product designers aim to maximise using recycled materials in their designs, both for aesthetic appeal, and to comply with the sustainable ethos. Radhika and Madhvi feel that this surge in recycled design, which began around three years ago and continues to become bigger each day, is indicative of a bright future for the art form.

Twister Lamps | Materials: Plastic bags waste iron pipe, a lampshade, a CFL bulb and voila!

Size: Height 16â&#x20AC;? | Year- 2013

Colour Pencil Frames | Materials: Colour pencils cut with salvaged wood | Size- 7” x 9” x 7.5” Diameter (round frame) | Year- 2011

Robin Passi is a young artist who has held several solo exhibitions; his latest was on recycled design. He received the Foundation for Indian Contemporary Art ‘Young at Art’ Award in 2014 – a prestigious award for young artists for his contribution to Indian contemporary visual art.

Robin Passi

For his artwork, Robin draws inspiration from the city he resides in, and the way that the people living in it interact with the city. As a photographer, he is constantly seeking to capture unique aspects of the city, as well as the manner in which people engage with the city. What he sees, in turn, inspires his other artwork. He also draws inspiration from architecture; and as a result, his artwork not only celebrates a certain aesthetic, but is also functional in nature. For instance, when creating lamps made from recycled metal pieces, he considers both function and form. Working with metal, its various shades, the natural rusting that occurs, and the sturdiness of the material fascinates Robin. Using metal enables him to create something that can last. Given the rapid industrial growth in India, there is an abundance of scrap metal. Often the metal pieces he works with used to be parts of trucks and machines, and Robin believes that this makes it all the more interesting as each and every piece of metal has a different story to tell. “When I use an exhaust pipe, I connect the past life of that pipe with the current piece I am making. The fact that it came from a car makes the piece feel industrial, invokes movement, and adds to the texture of the meaning that is behind the piece.” Robin sometimes gets his inspiration while rummaging for materials at scrap metal yards. Looking through the materials, he can often start to see how the different materials can come together to create recycled art. It is heartening to see someone as young as Robin believe so strongly in the future of recycled art. It is his firm belief that the possibilities of this type of art are endless as it can be made from literally any material, and that he and his fellow artists can create masterpieces from car parts, plastic bags, old computers, construction materials and so many other things that society casts aside.

Noise within | Materials: Old mesh, mirrors & inner bearings | L-38” x H-66”

Memory | Materials: Old Soft Board, Old Nails | L-8’ x W-4” x H-7’

Bench | Materials: Recycled Iron Mesh and Automotive Paint in Silver Metallic Colour | L-96.6” x W-12” x H-16”, L-96” x W-12” x H-16”

Stools | Materials: Recycled Chain & Automotive Paint in Silver Metallic Colour | Dia-15” H-16”

For Sahil & Sarthak, colours are the best visual connection between concept and context. Colours signify communities and customs. For instance, their Zanana Chair and Table ensemble (from their Marwar Collection) draws inspiration from the attire and accessories worn by the Rika Community in Rajasthan. Similarly, colours also evoke emotions. For instance, when they launched their Katran Collection, they were largely creating multi-colour chairs. Now they have created a system where they can create colour palettes according to client requirements, such as a Sunrise Palette or the Jodhpur Blue Palette. Recently, they created an Alice in Wonderland colour. With all these themes, they are working towards creating human stories through this vibrant and very colourful material, which also happens to be very sustainable. When asked how the Katran Collection represents the idea of recycled art, Sahil & Sarthak explained: “Developed as part of the ‘Zero Kilometer Design’ concept, the Katran Collection has been our effort to weave ethics, ethnic ideologies, and ecology with contemporary culture. Katran in Hindi means small pieces of leftover coloured cloth, usually cotton or georgette, which is the by-product of cloth mills. These cloth pieces are collected by farmers during their off-season, spun into ropes, and sold for the purpose of weaving traditional Indian day beds (khatiyas). Our effort has been to use this same vibrant material in an innovative way to create a collection of contemporary furniture and products that are sustainable and beautiful, and which have an esteemed perceived value and a ‘glocal’ (global + local) appeal. Such a chair is completely handcrafted, and brought to life by the ethical interactions between various actors in the system, from the village to the city.”

Sahil & Sarthak

The Katran Collection has been published and showcased nationally and internationally. In 2011, Sahil & Sarthak were awarded the Elle Décor International Design Award (Young Talent Category), and showcased at the Ambiente Fair, Frankfurt, in 2012. Pieces from this collection were also showcased at the Trienalle Design Museum, Milan, in 2012, and the Katran Love Chair was awarded Best Product by the India Design Forum in 2013. This collection will be a part of the India Now Exhibition at the Victoria & Albert Museum, London, in 2015. More recently, Sahil & Sarthak were selected as one of the 10 Eco Designers from Asia, and their products were showcased at the Asia Talents (10 Eco Designers) exhibition held at the Queen Sirikit National Convention Center, Bangkok, in September 2014. The talented duo also participated in the Bangkok October Fair, and were awarded the title of Outstanding Designer of Asia Talents 2014; selected by WallPaper Magazine. In 2013, they launched a collection called The Pakhi Collection – an ensemble of platters, trays and T-lights, handcrafted out of aluminium, and decorated with banjara motifs. At the time of publication of this book, this collection was expected to soon be available at The Kamala Store, New Delhi. They have also designed a collection of tabletop accessories for Arttdinox (Jindal Steel Ltd). Naming it the FerraGami Collection, they have created beautiful objects by applying the art of origami in metal, and, hence, balancing craft with technology. This collection is available in all Arttdinox stores. In 2014, Sahil & Sarthak launched the Pin Tucks Collection – an ensemble of pendant lamps in various shapes and sizes, available in various finishes, and inspired by the pintuck technique used on fabric. Sahil & Sarthak’s signature style has always been local. They believe that it is essential to be global yet local. Since the world is shrinking, our needs and aspirations become increasingly international. At the same time, they feel that the Indian consumer does not want to ape the West. Rather, they have discovered a style that is more personal and rooted in self-culture. Furthermore, the world is looking at India as more than just an outsourcing destination, and wants to draw inspirations from the sustainable lifestyle that has been bequeathed to us. Therefore, when they design a chair, they do not want to add to the clutter of thousands of chairs designed and produced every year. They want to create a lifestyle option for their audience. Their Katran products are vibrant and busy, and wreak riot on ones senses, encompassing the true spirit of India. However, at the same time, they are ergonomically designed according to international standards, and above all, are a result of a sustainable process. This is the true charm of their products, which they call ‘Green Luxury’.

Pelican Chair – California Sunset 37” x 22” x 39” | 2013

X- Table | Katran | 18” x 15” x 22” | 2014

Bodhi lamp | Katran | 18” x 18” x 32” | 2014

Siesta Chair | Katran | 26” x 37.5” x 44” | 2014

Shabnam Gupta’s love for foraging old pieces, and her appreciation for the uniqueness that they exude inspired her to use recycled materials. “Moreover, through recycled art you can transform existing art, while simultaneously helping to create a sustainable environment,” says Shabnam.

Shabnam Gupta

So how does Shabnam, a resident of Mumbai, decide which mediums and materials to use? “I actually do not plan much in advance, I am more impulse driven; for example, if I am driving past Dharavi and I see a scrap shop in which I happen to see Dalda tin boxes, then that may become my next art form. I also have a fetish for scrap metal. I just love the old rusted textures of scrap metal, and often use them to change the perception of a beautifully crafted new design space. In a creative field, I think it is fair to say, you keep evolving, and so does your pallet of materials.” Drawing inspiration from everyday objects, people and nature, Shabnam feels that, in general, the inspiration behind someone’s art is about how sensitive or open they are to their surroundings. Shabnam believes that recycled art has a strong future. “The other day, I was reading about an entire floating man-made island that is inhabited by a person who has actually created the island base with recycled plastic bottles! That is the extent of how far recycled art is being developed and used. There is art in whatever you can imagine it to be, and an increasing number of people are using recycled materials for different art forms. You have recycled container homes, which in my opinion are an art form on its own.” According to Shabnam, art can make the world a happier, kinder, and a greener place, and it is this attitude of hers that helps bring out her best work.

Image of the Dalda tin boxes, vintage scrap shutters and some LPs on the barâ&#x20AC;&#x2122;s facade, that we have used in one of our hospitality designs. The site name is Wtf!, Pune, 2012. Dalda tins used to create the barâ&#x20AC;&#x2122;s facade. 2012.

Sharmila Samant grew up in Bombay and moved to Delhi in 2013. She was inspired to use recycled materials whilst she was at art school; her source of inspiration was Arte Povera. As a young artist growing up in the early 1990s, she found that there was a paucity of means to express the different emotions she was experiencing. This spurred her to look at non-art, everyday mundane materials to explore and express her ideas.

Sharmila Samant

Her first solo exhibition, held in Bombay in 1995, focused on raising the status of low and recycled material to the domain of high art. It was titled ‘Aere Perennius’, which in Latin means ‘more lasting than bronze’. All the works in the show were made from paper; she used cartons, packing material, and cast paper (papier-mâché). For her works, Sharmila draws inspiration from life, society, politics, literature, and mythology. In our discussions with Sharmila, we asked her which mediums and recycled items she used for her art and why. “It all depends on what it is that I am trying express. Recycling and reinterpretation becomes a philosophy of working images, clothes, bottles, bottle tops, trash, or photographs.” As our discussion went on, Sharmila elaborated on how she chooses the materials to use for her works. “I don’t choose my materials. Instead, I focus on what I want to communicate, and after that, the material choice becomes automatic. Archaeology teaches us a great deal about a society, as we are able to examine what they have left behind. I do look at the detritus as it tells us about the times and the way we live.” For Sharmila, what makes art unique is the interpretation of the individual (artist). She firmly believes in the zeitgeist.

The Chandelier | Materials: Discarded Bottle-Caps, Metal Shackles and SS Frame | 28” x 74” x 74” | 2011

The Hand-made Saree | Materials: Discarded Bottle-Caps and Metal Shackles | 217” x 48” | 1999

Oroborous | 56” x 56” x 10’5” | 2012

The Made to Order Saree | Materials: Powder-Coated Discarded Bottle-Caps, Metal Shackles | 217” x 48” | 2007

Shilpa Joglekar, an artist living in Mumbai, says: “Often my sculptural work is inspired by found objects which I use in my work by subverting their meaning.” Shilpa has been using recycled material from the time she was an art student. She found it interesting to create artwork from things that were around her, and started looking at them differently, and gave them a new meaning.

Shilpa Joglekar

However, her focus on art created by using recycled material arose in 2010, and reached new heights when she was developing a project called Negotiating Routes and Ecologies for tribal school children, with a grant from the Khoj International Artists Association. Shilpa says: “Looking at the environment of these schools, I felt that the children must be introduced to the idea of bettering their surroundings by cleaning all the garbage and plastic waste which lay unattended and in abundance. It was from this experience that my idea to use recycled waste to create play structures in schools germinated.” The materials that Shilpa chooses are always related to the place and site that she is working on. So, for the projects with schools and play structures, she used materials such as recycled tyres, metal pipes, and bamboo. She also works with a lot of natural ephemeral materials such as cloth, rope, bamboo, stone, and wood etc. As such, she is constantly experimenting with new materials. Moreover, Shilpa enjoys walking through junkyards in search of interesting objects and materials like glass bottles, metal waste, and car tyres, since these materials have a distinct shape and character. When she uses them in her artwork, she strives to make them lose their original character, and become a complete entity or a part of the actual artwork. Preferring not to dwell on the idea of creating the ‘Best from Waste’ or any similar reference, Shilpa says: “Using the time, place and the nature of the project as an inspiration, any artist can use or choose to work with any recycled material.” As an artist, she opposes the idea of just making art from recycled material, without actually thinking about the aesthetic, poetry, and playfulness in the work. Shilpa feels that all individuals who are sensitive to their surroundings tend to try to do something that will help in making the Earth greener. She also feels that: “As an artist, the need to respond to the environment strongly, and talk about stopping the abuse of this lovely planet where we live by creating public art projects to promote this thought to a wider audience is important.”

Bottled City | Materials: Glass Bottles and Found Objects 72” x 48” | 2010

Royal Rain | Materials: Found Objects | 144” x 96” x 120” | 2010

“Jugaad”

Historical Art

Jugaad epitomizes the Indian entrepreneurial spirit. It describes the gutsy art of spotting opportunities in the most unlikely of circumstances. In grandiose flights of imagination, the artists in this section demonstrate unique, innovative ways of re-appropriating unremarkable objects to produce remarkable and impactful pieces of art. From the scrapheap-sourced shards of coloured glass that Nek Chand Saini pieces together to create the meticulous, glimmering rows of multi-hued Bangle Ladies in his secret sculpture garden, to Shilpa Joglekar’s simple, yet transformational, recycled-material play structures, the humble origins of these artists’ materials makes the objects they create all the more impressive.

The past and present collide in this section of dualising art. The history of the composing pieces – from the scratched circuit boards on Akshay K. Rajpurkar’s patina of Mumbai, to the vibrant sari material that Avni Sejpal uses to make her PomPom Poufs – draws the viewer back into the past, forcing them to consider the implications of the individual objects’ earlier incarnations. Simultaneously, the innovative, contemporary messages projected by the finished and coherent pieces push the viewer forward into new, uncharted territories of consideration. By celebrating, rather than suppressing, the history of their materials, these artists draw the viewer’s attention to the past’s potential to provide inspiration.

Nek Chand Saini

Madhvi Khaitan and Radhika Khaitan WorkshopQ

Shabnam Gupta - Peacock Life

Robin Passi Memories of Heavy Metal & Glass

Transport official and self-taught artist Nek Chand Saini is known for the secret sculpture garden he hid from Chandigarh city officials for 18 years. Chandigarh was in the midst of a dramatic reinvention when Chand became a city road inspector in 1951. Its small villages were being demolished to make way for the grids, gardens, and sleek modern architecture that would comprise India’s first planned city. Chand saw potential in the piles of debris that littered the landscape, and began collecting pottery fragments, bottles, glass, tiles, and rocks. In 1965, he began using these objects to build his own planned city – a sculpture garden filled with thousands of human and animal figures, in his vision of the divine kingdom of Sukrani. When the garden was discovered in 1975, it seemed that it would be demolished as it was built on a conservation area. However, heeding public sentiment, officials allowed Chand to continue expanding the garden, and it has since received some 12 million visitors.

WorkshopQ is an innovative, eco-product manufacturing company born from two sisters’ recognition of the need to redefine the way people think about waste, recycling, and responsibility. Madhvi and Radhika ‘upcycle’ discarded objects – hand-converting waste materials into aesthetically pleasing home items of better quality or a higher environmental value. They design in anticipation of the demands of a future society with heightened ecological awareness, with a focus on creativity, sustainability, and functionality, and seek to demonstrate that being eco-friendly can be fun, merely requiring one to look at things differently.

In 2010, acclaimed interior designer Shabnam Gupta founded Peacock Life with artist Ganga Kadakia and landscapist Neelam Sagar. The retail chain specializes in interiors, art, and garden products, based upon the philosophy: “By the artist. For the artist.” Known for her ability to envision the transformation of mundane objects and reclaimed materials into collector’s items, Shabnam draws inspiration from all the forms, shapes, and colours she sees in nature. Shortlisted amongst the ten young innovators in design and architecture by CW Interiors Magazine in 2009, she was labelled “a designer to watch out for” by Forbes India in 2010. She also won the IIID Award in the residential multi-dwelling category in 2011, and is listed amongst the IGEN top 50 designers of India by Architects and Interiors, India.

Robin Passi is a Delhi-based artist who draws inspiration from the city’s multicultural vibrancy, and from human needs and nature. His primary mediums are photography and mixed medium design. Using various techniques, such as welding, he makes furniture and decorative pieces from recycled items. He believes that the cycle of discardment and replacement of mass-produced items causes a loss of diversity and authenticity in the world around us:

Shilpa Joglekar – Recycled Material Play Structures Renowned Mumbai-based installation artist Shilpa Joglekar seeks to involve all of society in her art and projects. Using natural materials or scrap, she designs sculptures and installations that have a practical impact on communities, simultaneously raising standards of living whilst educating people about the re-appropriation of materials and the conservation of the environment. In village schools in rural Maharashtra, she enlisted the help of local students and teachers in building recycled-material play structures using scrap sourced from local junkyards. The new attractive look of the formerly stark school premises enticed children into the classroom.

Brinda Miller Brinda Miller excels in mixed media, but has experimented with various mediums, including acrylic, corrugated cardboard, cloth, and metallic paper. She has held many solo exhibitions in Mumbai, and participated in numerous group shows in local and international locations. Brinda has been instrumental in the beautification of the Kala Ghoda Art District in her hometown of Mumbai, and has been responsible for bringing public art to the city through The Khyber Art Wall Mural, The Maritime Heritage Mural, the Naval Dockyard in Mumbai, and the restoration and beautification of five traffic police chowkies (stations), whilst creating her own murals for the art district. She is an Honorary Festival Director of the Kala Ghoda Arts Festival, which she has brought to its present popularity. She is also Art Adviser to several NGOs and other art organizations, and, among other juries, is on the board of The Swiss Annual Award for Sir J.J. School of Arts.

Avni Sejpal - Pompom Pouf (Studio Avni) Avni Sejpal is an architect and designer engaged in exploring design innovations through research and tactile manipulation of organic and geometric shapes. Drawing upon her collective experiences that traverse various design fields, she creates striking artworks for public spaces, corporate environments, exhibitions, and private homes, using unusual materials. She re-contextualizes traditional and unconventional materials by exploiting their inherent qualities, and manipulates bold and vivid colour, pattern, and structural integrity to invoke moods and memories. She opened Studio Avni in Mumbai in 2011, after accumulating eight years of local and international experience. The PomPom Stool and Pouf Series, fashioned from discarded silk saris, is a whimsical textural take on the vivid colours and beautiful fabrics that Avni associates with the various traditional garments and accessories worn in India.

“The idea is to tell people that metal is not a waste product, and it can be recycled. I have made beautiful objects using leftovers. One can always utilise junk in this manner.”

Akshay K. Rajpurkar Emerging multimedia artist Akshay Rajpurkar’s patina of Mumbai is featured on the three kilometer-long ‘Jaya He’ art wall at Mumbai International Airport. His aerial map of Mumbai, based upon the pixilated image of Mumbai that can be seen on Google Earth, is created from recycled e-waste: computer circuit boards, discarded buttons, microchips, and blue buttons. The colour green is interspersed with patches of brown in mourning of the loss of mangroves. Akshay sourced his materials, familiar upon inspection, from the parts of the city – migrating from Lower Parel to Dharavi, and on to the flea market of Chor Bazaar in his quest for resources – which they now represent on the wall.

Social Art

Wearable Recycled Art

The artists in this section use their art to hold up a revelatory mirror to the viewer, forcing them to confront uncomfortable truths about themselves, their habits, and their effects upon the environment. Arunkumar H G draws attention to modern society’s entrapment within an incessant, unsustainable cycle of production and consumption, while Kausik Mukhopadhyay points to its obsession with the new, the novel, and the fleetingly fashionable. By creating inspiring and stylish new art forms from recycled materials, the artists demand that the viewer reconsiders his or her consumerist mentalities, and pauses to think the next time they are about to heedlessly throw something away.

These artists may use recycled materials, but their finished products are convincingly on-trend. From the chic handbags that Anita Ahuja ingeniously constructs from the innumerable discarded plastic bags littering Delhi, to Sharmila Samant’s remarkable and utterly unique made-to-order sari project, these artists demonstrate irrevocably that recycled products can be as covetable as new ones. If you are convinced by the importance of recycling, and the opportunities it affords, these artists have made it possible to wear your heart on your sleeve – or your shoulder.

Arunkumar H G

Kausik Mukhopadhyay

Sharmila Samant

Since completing his Bachelors and Masters degrees in Fine Art, Arunkumar HG has been working in various disciplines, including photography and toy design, which have influenced his work. His eclectic, exotic manipulation of ready-made objects such as toys, plastic, ceramics, cow dung, hay, and TV monitors, in varied contextual settings allows him to convey various simple and complex ideas through multiple points of association. In his recent series of works, entitled ‘Feed’, he is simultaneously disturbed and amused by contemporary market forces, the acts of production and consumption, and the haphazard disposal of mass-produced goods. He lives and works in New Delhi, where he is a member of the Khoj Artist Collective, and has completed residences at the Jawaharlal Nehru University and the University of South Australia.

While Kausik Mukhopadhyay’s installation art may seem whimsical and childlike at first, it reveals sophisticated messages about recycling upon closer inspection. Much of his work is composed of discarded objects that he has dissembled and reassembled with a tongue-incheek humour, encouraging the bourgeoisie viewer to reconsider his or her obsession with the new and fleetingly fashionable. He draws inspiration from the ingenious ways the lower classes reuse discarded objects to meet their needs in lieu of buying new gadgets and appliances. He is based in Mumbai, and currently teaches at the Kamla Raheja Vidyanidhi Institute for Architecture and Environment Studies. His work has been exhibited, and he has held residencies, in several cities all around the world, including the US, the UK, and Australia.

Sharmila Samant has engaged in collaborative and participatory art projects within various communities whilst exploring ideas of exchange, accessibility, and authorship. Her installations and video works have been featured in prominent exhibitions in India and abroad, and she is a founder of the Mumbai-based collective, Open Circle, that seeks to engage with contemporary socio-political issues via an integration of theory and practice. She is interested in the dimensional and temporal developments of the sociological, economic, societal, and psychological implications of banal objects, and sees herself engaged in a strategic subversion of the market that emphasizes its processes. Her ongoing project of made-to-order saris that are fashioned from Coca-Cola crowns invokes the multiple cultural meanings of the sari and Coca-Cola. It emphasizes the irony of customized work manufactured from ready-made disposable bottle caps, whilst offering a criticism of commercial marketing and exploitative labor in contemporary India. She is currently an Associate Professor at the Department of Art, Design and Performance at the Shiv Nadar University.

Ilyas Ahmed Bangalore-based artist and musician Ilyas Ahmed transforms discarded nuts, bolts, springs, and vehicle spare parts into surprising and symmetrical sculptures that have an anatomical appearance. One of his most elaborate creations is his Native American Sculpture, with its chiseled face, metallic costume, majestic headgear, and handheld weapon. He has also produced metallic horses, lions, and squirrels. He draws inspiration from the junk he saw whilst working as a welder on offshore oilrigs. Ilyas has held several solo and joint exhibitions in Mumbai and Bangalore.

Sahil & Sarthak- Katran Collection Founded in 2009 by designers Sahil Bagga and Sarthak Sengupta, the Sarthak Sahil Design Co. operates on the strong belief that ethics, ethnic ideologies, and ecology can be interwoven with a contemporary

lifestyle. Since its conception, the studio has designed products and interiors that are beautiful, functional, and ASAP (As Sustainable As Possible). Despite their diverse backgrounds in applied art and product design respectively, the duo have mastered the art of synchronizing their individual creative expressions to produce bold and provocative designs. Like their earlier works, the Katran Collection has received an overwhelming response in India and abroad. It continues to be showcased at various international platforms, including the Victoria & Albert Museum in London as a part of the India Now Exhibition, 201213. In 2011, it was awarded the Elle Décor International Design Award.

Anita Ahuja In Anita Ahuja’s factory in the Bahadurgarh Industrial area, which is also a skill development center, she simultaneously addresses the crises of waste mismanagement and unemployment amongst informal sector workers. Resourcefully combining principles of enterprise and social service, Anita Ahuja’s organization, Conserve India, makes popular fashion products from discarded waste products, which are sold in high-end retail outlets abroad. Using a process of her own invention, Anita and the rag pickers of Delhi convert discarded plastic bags into large sheets that are used to fashion handbags, file folders, coasters, and other household items, engendering a potential positive shift in the self conception and the public perception of the rag pickers.

About the Author Robin Passi Robin Passi is a young passionate artist who has held several solo exhibitions since 2011. His first solo art exhibition was held at The Oberoi Hotel in New Delhi, followed in 2012 with a show about the Wagha Border held at The Alliance Française, New Delhi. His show in 2013 focused on recycled design by transforming recycled metal objects into artistic design pieces: crankshafts became candle stands, aluminum waste became a table, and rusty strings became the base of stools. In 2014, his show entitled ‘Tactile and Intangible Melodies’, explored universal questions about technology, the passage of time, individual memories, and cultural histories. Both the aforementioned exhibitions were also held at The Alliance Française. In January 2014, Robin was invited to exhibit his works at the world-renowned India Art Fair at the VIP Lounge, New Delhi, where he showcased three coffee tables, two pedestals and three pairs of top stools. In the following February, he was invited to exhibit his work at Gauri Khan’s furniture studio, The Design Cell, in Mumbai. Currently, more than 20 pieces of his recycled metal artwork and bamboo pieces, including candle stands, serving trays, and tissue boxes are showcased at the store. Several pieces of his recycled metal objects design works have also been accepted by The National Bal Bhavan, and are now part of their collection. Robin received the Foundation for Indian Contemporary Art ‘Young at Art’ Award in 2014, a prestigious young artist award for his contribution to Indian contemporary visual art. More recently in January 2015, Robin’s latest work, ‘Salvaged Shadows’, was exhibited at the IIC in Delhi. Shadows and reflections were the tangible threads of this exhibition; whilst these works exhibited a gentle nod to some of his earlier works, he has now displayed a fresh dialogue with renewed energy. The concept behind this show was to recover and save material which had been discarded and give it a new meaning. This exhibition sought to highlight the different materials which were used to make each individual piece, and addressed the versatility of these various mediums. Committed to giving back to society, Robin ensured that all the proceeds from his solo exhibitions were donated to the Delhi Society for the Welfare of Special Children (DSWSC). Furthermore, Robin is the author and photographer of a book entitled ‘The Beauty of Life’, which was published on behalf of DSWSC in 2012. Robin proposed creating the aforementioned publication because he was touched by the work which the society was doing to help under-privileged children with special needs gain access to the help they needed. The intent of this book was to capture portraits of the children and through these photographs, display the impact of the NGO’s work on the lives of these children. In addition to this book Robin also held an exhibition of his digitally enhanced photographic prints on canvas. To expand his learning and knowledge in the areas of art and design, Robin attended two summer courses at Brown University: Modern Rapid Prototyping Techniques and Building a Better Mouse Trap: An Introduction to Design. He has also interned at the illustrious Heatherwick Studio in London. 86

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ISBN NO 978-81-89497-74-3

Catalogue ÂŠ Robin Passi Special thanks to all the artists who shared their valuable time with me. Robin Passi will not be held responsible for any typing, spelling or printing errors in the catalogue.

Printed in India at Archana, www.archanapress.com 89