R I T A J O H N
A R T W O R K
Photo Credits: Suryan//Dang
SERMON ON
THE MOUNT (MURAL, OIL PAINT, 2015)
SITE: St. James Church, Old Delhi, India (a heritage monument)
ROLE: Mural artist of insitu paintings
This 540 sq.ft mural is painted on the altar, side walls, and ceiling of an entire chapel within St. James Church - Delhi’s oldest church built in 1836 by Colonel James Skinner, a mercenary in the colonial British Army in India. As a theme for the new artwork layer, the multitudes oppressed during India’s problematic and violent colonial history are depicted in detailthe common Indian people.
The photorealistic representation style is a modern take on many European precedents. The often historically used illusion of a “room without a roof” has been employed, continuing the sky within the altar’s hillside scene upwards and enveloping the viewer. The 35 coffers in the ceiling and surrounding arched moldings of the historical monument have been accentuated in contrast to frame the sky. An outburst of tree branches and f lying doves from the chapel rear wall contrast natural forms within manmade symmetric geometries. While being an obvious reference to the “heavens above”, the imagery never transcends the realm of realism onto fantasy or religious iconography, inviting in secular audiences.
We consider this artwork an excellent contemporary layer to this historical monument as well as one which interprets its Indian context imaginatively. Moreover, it has received exceedingly positive reviews from church members, people of other faiths who can well identify both with the theme, i.e. “Sermon on the Mount” and the contextualization of the same. A number of tourists have appreciated the hard work that this young artist has put in.
- Rev Mohit Hitter, Presbyter in charge, St. James Church
ADDRESSING HISTORY
Indian Christianity has a complex history which ranges from ancient Christians who date back from the 1st century to the violent colonial complusion and conversion in the 19th century. St. James Church, the first to be built in Delhi, is a part of that latter history. Built by a ruthless mercenary of the British East India Company, St. James telescopes us into a socio-historical site that tells the story of a triple erasure. The erasure of the historical voices of natives under the violence of colonialism, that of their contemporaries under threat today from majoritarian radicalism and the voices of those multitudes whose indigenous lifestyles are still being effaced. “Sermon on the Mount” problematizes these alienating erasures by physically introducing visual imagery of these voiceless masses onto the poignant canvas of a controversial piece of architectural heritage.
MURAL MAKING PROCESS
1
A historical analysis of of the events that led to the construction of this heritage monument that traced its colonial benefactors and their influences.
2
Measuring and mapping the chapel architecturally.
3
4
Manual drawing and oil-painting.
Digital overlay of relevant contemporary imagery of Indian people and landscape.
SOCIAL STAIRS (PRINTED
GLASS ART INSTALLATION, 2024)
SITE: Cincinnati Main Public Library, Cincinnati, Ohio, USA
ROLE: In-house artist within an architectural team that renovated the whole library - Group 4 Architecture, Research + Planning. I generated the digital artwork in collaboration with glass fabricators, specialty printers and the construction team.
AWARDS:
This 2700 sq.ft art installation captures Cincinnati’s rich musical history through custom-made printed laminated glass panels that document the albums recorded at local recording studios since 1945. With the help of local music historians and experts, a list of 1602 albums was meticulously curated and vetted containing artist names and recording dates. Different genres of music are color coded to reflect the city’s musical evolution over time resulting in a rich f iligreed gradient across the entire art piece. Located at the core of the building, library users traverse this four-dimensional graphical journey through space and time as they ascend the staircase in the atrium, reading along the railings the distinct names of iconic albums and artists. Familiar albums trigger nostalgia while forgotten gems from the past are unearthed. 115
Honor Award for Experiential Graphics - Large Scale, Cincinnati Design Awards 2024
Citation Award in Interior Renovation, American Institute of Architects, San Mateo Design Awards 2024
COLOR CODED MUSIC GENRES
CUSTOM PRINTED LAMINATED GLASS RAILING PANELS
Photo Credits: Wesley Michael Photo
78
YEARS OF CINCINNATI’S MUSICAL HISTORY
1602
ALBUMS RECORDED IN CINCINNATI BY VARIOUS MUSCIANS FROM 1945 - 2023
LIBERATION (ART INSTALLATION, ACRYLIC ON WOOD PANEL, 2016)
SITE: Youth Ki Awaaz Off ice, Noida, India
ROLE: Installation artist of commissioned custom artwork and architect of the off ice interior design
This 96 sq.ft larger-than-life f igurative painting captures the f leeting feeling of complete bodily autonomy while deconstructing the iconic LGBTQ f lag colors in layered “goopy” textures. Commissioned within Youth Ki Awaaz‘s off ice space to echo the company’s pioneering role in journalism on the issues of gender, sexuality, and LGBTQ rights - often taboo topics in Indian society, especially in the workplace – the installation explicitly creates an inclusive safe space and also serves as a symbol for the freedoms worth f ighting for.
The artwork label reads:
Not with a neat wide brush but with messy little unique specks must we paint our opinions. For each mind and body is the coming together of too many colors, too many unfathomable thoughts, too many involuntary joys, too many aches and pains, too many uncontrolled coincidences for there to exist two of the same. There is no typical. There is only each. To each their own.
The vibrant artwork, “Liberation”, featuring a young f igure against a rainbow backdrop, signifies YKA’s core values of expression and engagement. The colours of the rainbow have often acted as a source of deep inspiration and revitalization for the team to keep at our mission, and remember to think of every issue inclusively. Seeing it is a daily reminder of our dedication to fostering a diverse, engaging, and creative environment where every voice is valued and heard.
- Simran Pavecha, Community Engagement Lead, Youth Ki Awaaz
SUBTEXT (ART INSTALLATION, ACRYLIC ON WOOD, 2016)
SITE: Youth Ki Awaaz‘s Off ice, Noida, India
ROLE: Installation artist of commissioned custom artwork and architect of the off ice interior design
This 100 sq.ft installation has 87 words hidden in 987 layered pieces of painted wood, “Subtext” explores the viewer’s ability to recognize familiar words in unfamiliar conf igurations. It generates a conscious process of recognition of symbols as an integral part of understanding language that a reader otherwise does involuntarily. Every piece of wood contributes in parallel to the making of two separate words of completely different meanings. Each word read then further triggers thought about what its individual meaning and relevance could be. “Subtext” breaks down script to be seen as visual symbols that have many ways of being read, quite like how the words they form can be understood to have countless meanings. The words in “Subtext” are derived from Youth Ki Awaaz‘s written content and are representative of the organization’s ideals, themes and core values.
TYPOGRAPHICAL LAYERING
3 scales of text were digitally overlapped in 3 layers and a pattern of the overlaps were generated. Through the use of bold contrasting colors, a certain legibility emerges depending one’s vewing distance from the piece.
The resulting artwork is a playful exercise in discerning what words each overlapped piece contributes to. This installation was concieved in conjunction with the furniture and interior design of the rest of the office space that also uses bold colors and angular wood work and typographical elements.
As a youth platform that focuses on a multi-issue approach, I was always keen on integrating a very physical manifestation of the same in our off ice. Something that not only represents the multiplicity, but also serves as a ready reminder of how diverse YKA is in our approach. The “Subtext” installation captures that perfectly. At 3 different angles you see 3 variations of our commitment to young people’s issues, and that serves as a constant reminder of our core values.
“ “
- Anshul Tewari, Founder, Youth Ki Awaaz
ELEVATION
(MURAL, INK & OIL PAINT, 2017)
SITE: Honeymoon Inn Resort, Manali, India
ROLE: Mural artist of insitu artwork and installation pieces This 380 sq ft mural.
Drawn orthographic projections (or “elevations”) of familiar objects are curated and scaled within an imaginary room to create the illusion of a cozy, nostalgic space on the blank canvas of a double-height hotel lounge. Graphical compositions of books, shelves, hanging chandeliers, photo frames and other household objects with varying line thicknesses sow familiarity and spatial depth in an otherwise abstract orthographic drawing style. The artwork not only brings life and humor to the space with illustration, but also physically engages with visitors with looking mirrors, a running clock and ledges to place real objects. The blurring of real vs. drawn objects showcases the potential of drawings to mimic reality and vice versa.
Manali is a popular mountainside city and ecosystem that is sustained by and also suffering from overtourism. “Elevation” portrays within this abstract playful jittery linescape a series of realistic frames of Manali’s endangered sites and people.
MAKING OF MURAL TIME LAPSE VIDEO: Scan QR Code to view in HD
FRACTAL
(MURAL, ACRYLIC PAINT, 2017)
SITE: Honeymoon Inn Resort, Manali, India
ROLE: Mural artist of insitu artwork
In this 325 sq.ft mural, mountains jog like stretched strings from the back of the reception counter, onto the ceiling and up the walls of the entrance lobby of the Honeymoon Inn Resort’s reception area. The mural explores snowf lake fractal geometries in the warm color pallet characteristic of locally woven Himalayan fabrics.
“Fractal” is extremely dense at the bottom rear reception wall where the viewer’s eye can discern detail and becomes more spread out at its highest planes where the unique fractals spread in scale and wrap the double height space. An ode to local weaving crafts, each hand-painted fractal is visible from the entry as well as from overlooking walking bridges above, the folding planes of the site providing unique canvases that operate at multiple vantage points.
