‘THERE ARE TWO KINDS OF WRITERS: THOSE THAT MAKE YOU THINK, AND THOSE THAT MAKE YOU WONDER.’ BRIAN ALDISS
platform Platform is India’s only multi-disciplinary contemporary arts lifestyle magazine featuring some of the most fascinating, quirky names from various genres including art, fashion, design, literature, film and music. A bi-monthly, it comes up with one issue based on each genre every year.
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magazine
webzine
[CONTENT]
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N1 THE RE-COLLECTIVE
N2 THE GAYSI ZINE
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N3 LOVE SHOTS
N4 RIMZIM DADU
[CONTENT]
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38
N5 AMIT AGGARWAL
N6 THE CHRONICLES OF COURAGE
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N7 BHANE.
N8 LESSONS FROM MOTHER NATURE
[CONTENT]
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N9 THE LOST PARTY
N10 ART FOR NEPAL
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N11 30 DAYS OF SUMMER
N12 OLIO
[CONTENT]
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70
N13 LIFE ON YOUR TABLE
N14 BURNING AGAINST THE DYING OF THE LIGHT
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N15 ST+ART
N16 PRATAP CHALKE
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90
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N17 TRAVEL PHOTO JAIPUR
N19 ANOMALY
N18 ARTISAU
N20 IN & OUT OF TIME
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108
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N21 EROTEXT
N23 THE INK BUCKET
N22 MIND THE GAP
N24 BIAS
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124
130
136
N25 KAVERI GOPALAKRISHNAN
N27 PEPE HEYKOOP & LAURIEN MEUTER
N26 AAKRITI KUMAR
N28 TWIST IN THE TALE
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154
N29 JASJYOT SINGH HANS
N31 NIKHIL PAUL
N30 QUENCH
N32 BARS WITH A BANG
articles webzine print [15]
THE RE-COLLECTIVE A feature about an art collective brought together by national and international artists, where technology brings us closer to nature
N1 For years, our fixation with technology has been criti-
ine everything, and the future,’ she says.
cized. Every minute spent staring at a screen, is a minute lost when you didn’t feel the breeze skim past your
Every exhibit is the artists interpretation of the theme of
skin. But what happens when a room full of exceptional
Re-Collective, where they push boundaries to re-imag-
national and international artists conjure up an immer-
ine the possibilities of the future. Inspired by snippets
sive space, where technology takes you a step closer to
of their personal experiences and observations, the of-
nature?
fice is peppered with artworks titled Re-Flect, Re-Form, Re-Imagine, Re-Think and so on. With a hanging moon
Re-Space was conceived by Vani Kola, the M.D of Kalaari,
and brave lotuses carved out of mirror and wood, Shilo
a venture capital company, invited contemporary artist,
emphasizes the importance of taking a moment to reflect.
Raghava KK and the rising-star Shilo Shiv Suleman to cu-
In the words of educational reformer John Dewey: ‘We
rate a collection of artwork for the office space of K-Start,
do not learn from experience. We learn from reflecting
an incubator for the ‘hand-picked’ start-ups. Dani be-
on experience.’ The piece gives you a moment to behold
lieves that ‘the key ingredient for creativity is an environ-
every fleeting second, as its intricate details deepen your
ment that nurtures it’. Artists like Sean Stevens, Netra
breathe and calm your mind.
Srikanth, Heather Stewart, Pallavi Sen and Nikhil More share Vani’s belief, who along with Shilo and Raghava are
A metal banyan tree hangs low in one corner. Camou-
busy turning the 40’x120’ office into an arresting ‘creative
flaged amongst the leaves are breath sensors that make
space’.
the tree glow brighter the moment someone speaks under it. Named The Sharing Tree, it ‘allows us a moment of
Christened Re-Space by the same artists who are creating
contemplation, together or alone’.
it, this office takes art ‘out of galleries and into real spaces’. This is immersive and interactive art, that inspires
The Re-Collective brings together a beautiful and eclectic
you to step up and participate. Vani wanted the space to
amalgamation of styles, mediums and languages of art, as
be ‘a dynamic museum of artwork that tells the story of
every artist contributes to the other’s work. In Re-Imag-
re-invention, innovation and collaboration’. ‘The theme
ine and Re-Form, Raghava explores the potential of cu-
Re- is all about being bold and daring enough to re-imag-
riosity in children, and reflects on the latent possibilities [17]
that lie within every uncut diamond. He evokes the beauty of a world in which ‘we have the opportunity to craft our lives, our selves and our ideas, and tell the story of our life, the way we want it to be told.’ Re-Act, the brainchild of Nikhil More and Sean Stevens creates a living wall mounted with piped and LED lights, which renders the topography of Mount Olympus in Mars, the highest point on the solar system. It signifies the new heights of creativity. Re-St, Shilo and Sean’s Bio-feedback installation creates meditation rooms that channel live data for calming forces in nature and connect us with the natural world. In a moment’s time, the shadow of a passing cloud catches your breathe as it falls on your shoulder. The sounds and images of lapping waves transfix you as you walk into another room where the gentle turning of the Milky Way encapsulates you in a heady charm. A room down the hall is lit with soil sensors placed in potted plants. If the plants are well watered, the room lights up in an ethereal glow. If not, the ambient light will say it all. Vani Kola had set out to create ‘a dynamic, participatory and beautiful space that has the power to nurture, energies and inspire action’. Along the way, the artists did something much more - they brought us closer to the world we had forgotten we were born from.
In Re-Imagine and Re-Form, Raghava explores the potential of curiosity in children, and reflects on the latent possibilities that lie within every uncut diamond. He evokes the beauty of a world in which ‘we have the opportunity to craft our lives, our selves and our ideas, and tell the story of our life, the way we want it to be told.’
THE GAYSI ZINE A feature about India’s first ever graphic anthology of queer narratives
N2 Just when the world is stepping out to explore the many
lesbian woman, art, design and literature break even in
facets of sexuality and gender and questioning everything
this anthology. With an explosion of styles and colors,
we know about it, The Gaysi Family adds a dynamic voice
the book reminds us of the same diversity and zeal it
to the cause. Following seven years of breaking archaic
represents. A conversation with Priya Gangwani reveals
societal precincts on sexuality, the LGBTQ collective hits
the message that this book and The Gaysi Family wishes
another milestone: the first ever graphic anthology of
to share: sexuality is fluid. It was always meant to be so.
queer narratives. Inspired by the unending possibilities voice, this anthology brings together stories by a motley
What inspired this Queer graphic anthology? Is there a story behind it?
mix of artists and writers.
Gaysi has been trying to create a visual voice in the queer
of exploring queer culture with a compelling graphic
space since last few years. A space where visual is not just “Queer people are fabulous and have wonderful stories to
an accessory but just as important as content, if not more.
tell; the power of visual rendering of anecdotal accounts
The visuals have the power to bring out the poignant
can be very soul searing. However, not many are drawing
thoughts of the author in a way like nothing else. After
the queer stories. Not many are venturing into this fertile
the success of The Gaysi Zine issue 3, we endeavored
wonderland,” says Priya Gangwani, the editor of Gaysi
to explore the subject of Queerness through the unique
Zine.
hybrid form of reading that employs visual-verbal literacy and rhetoric—graphic stories! Queer people are
Last week, The Gaysi Family shared a conversation
fabulous and have wonderful stories to tell; but that most
titled Boundary Breaking Graphic Art in Queer India,
of these stories are shared in the black and white of words
which explored graphic as a space for performative text,
on paper. And second, that comics and graphic stories
and how the discourse of Queer is moving ‘beyond the
are a powerful tool of storytelling. The power of visual
cauldron of Indian Queer Literature.’
rendering of anecdotal accounts can be very soul searing. However, not many are drawing the queer stories, not
Peppered with stories that recount Chennai’s first
many are venturing into this fertile wonderland. And
recorded crime in 1641—which offers a historic context
for precisely these reasons, we could not stop ourselves
to homosexuality in India—and the musings of a married
from trying to fill in the void. We secretly hope that this [21]
graphic anthology is just the beginning of this journey.
imaginations.
Give us a glimpse into the book? Share the outline of the graphic stories and the sentiments they try to share. Are the stories inspired by first-hand experiences of the artists?
Did you consciously choose artists with idiosyncratic styles or was that something that works itself along the way? What did each artist bring to the table?
This issue is both a retelling and an active work of
collection worked itself out along the way. I guess
various artists’ and writers’ attempt to sort through their
when you are seeking authentic voices—the uniqueness
own identity and acknowledge the queer element in their
becomes a natural consequence.
One did look for diverse styles but to be honest—the
lives—the choices that falls outside the heterosexual hegemony. The stories in this anthology have captured a
Each artist brought something different to the table—
truth from personal experiences, expressing values that
each piece offers an instance of how the writer questions,
are felt deep down to the core. They have been drawn
probes and challenges the neat structures of the world
from the artists’ own politics and sensibilities of what is
through the sheer power of what they imagine. Dearest
Queer to them. These stories emphasize the authenticity
Latha, conceptualised by Kokaachi Studio and illustrated
of human experience—its honesty, and rawness.
by Sandhya Prabhat, beautifully tells the story of Laxmi—a
Every narrative is unique and brings an interesting
transgender person, working in a call center and her
conversation on the table. For instance, “The Case of
strong friendship affairs with others. It is that moment
the Floating Woman” is Chennai’s first recorded crime
when she can’t wait to go back to her people and tell them
in 1641—filled with love, scandal, murder, and death,
about her success at work—her wanting to celebrate that
it remains one of the city’s most fascinating crimes till
moment—which renders this space of the Imagined into a
date. It is a tale about two fugitives, their lives, and their
radical and an ultimately subversive one…”.
deaths. But more importantly, it’s a tale about being in love.
Kruttika Susarla, illustrator of The Right Love brought the mood of a lesbian married woman from a conservative
The story, Going the Solo Route is a wonderful and
south Indian family beautifully in her black and white
charming journey of a choice to remain solo – single.
work. Harshit Vishwakarma played with the idea of
It requires courage to not fit into the expected role of a
spaces in his illustration Bad time to be in love. What
mother, wife, and homemaker, and choose to create a
happens between the stories—the little space the reader
new reality for oneself. It might be a story that fires more
gets when he finishes one story and embarks on the other;
and what can be done in that space. To Err is Human is
lakh in 45 days. With this issue, we hope that there will be
a wonderful satire on the society; and drawn with such
people who read this and get inspired to tell their stories.
precise strokes by Sajid Wajid—it makes you pause for a
Vishnu Nair summed up the essence of this anthology in
For those of us who missed Boundary Breaking Graphic Arts in Queer India, give us a peek into the talk.
his pullout-coloring page “Connections and Storytelling”.
The talk was a very satisfying one. We debated on the
His piece shows us the affair of the heart and the mind.
concept of graphic as a space for performative text. The
That queerness lies outside the sexual orientations
artists spoke on the stylised repetition of acts and panels,
and needs to be understood in its varies multiple
narratives of diverse images illustrated by them, leading
ramifications.
to a ‘performative accomplishment’. The audience
long time and enjoy the visuals.
challenged the definition of queer restricting itself to
How long did it take to conceptualize and execute the entire project?
sexual orientations and gender diversity. It asked if IPC
It took us over 8 months to conceptualize and execute
where there is no space for law and legality but only
the entire project. The most heartening part of the
consent and intent.
Section 377 interferes with desire, and personal matters
journey was the overwhelming response we got. Even
their faith in this project and gave away something very
What’s next for Gaysi Family? After such a successful anthology, how do you plan to up your game further?
personal and close to them.
That’s a tough one but as a first step—it would definitely
big names in the artist community did not shy away from collaborating with a gay magazine. Every artist put
call for more collaboration and explore the genres, which
What are the highlights of the anthology according to Gaysi?
continue to occupy a niche space in the Indian market.
Apart from the diversity in the stories and the styles—
serve as a socio-cultural critique; and writers reimagining
graphics, comics, doodles; the stories in this anthology
worlds that don’t constrain, shame, or delegitimise them.
are real and very raw. Every narrative could resonate and touch a chord within if one allows. Another highlight is that this issue has been funded by the Queer Community and its allies. In fact, the response was so overwhelming that we were able to raise much more than our target of 2
Perhaps, the next one will have more visuals that seek to
This issue is both a retelling and an active work of various artists’ and writers’ attempt to sort through their own identity and acknowledge the queer element in their lives—the choices that falls outside the heterosexual hegemony.
With an explosion of styles and colors, the book reminds us of the same diversity and zeal it represents. A conversation with Priya Gangwani reveals the message that this book and The Gaysi Family wishes to share: sexuality is fluid. It was always meant to be so.
LOVE SHOTS A piece on an anthology of six short films that promise to get you high on love
N3 Romance being rekindled, a brewing love story between
sized story is accompanied by an original soundtrack.
two friends, and the goosebumps that accompany
Following the release of a compelling trailer, Love Shots
our very first crush are a few of the many things to be
is going to premiere on Youtube from the 8th of March,
explored in the upcoming film Love Shots by Ankur
one story every week. We got in touch with director
Tewari. From the makers of Man’s World and Band
Ankur Tewari, to dig a little deeper.
Baaja Baarat comes their latest project—an anthology Shifting gears from the web series and testing the waters
What inspired you to explore love and its multiple facets?
with the short story format, Y-Flims brings together an
The idea to put six love stories together was brewed in
ensemble cast in six eclectic shorts, which leave no stone
the ideas lab at Y-Films. Ashish Patil and Aparna Nadig
unturned in its endeavor to find true love.
wrote a bunch of stories and knit together a bunch of
of six short films that explore the many facets of love.
really strong screenplays. I was brought in at that stage Nimrat Kaur and Tahir Raj Bhasin rediscover romance
to take the project further.
in The Road Trip; in Fired, Salim Merchant and Tillotama Shome must survive a rough patch in their
Give us a blurb on the film in your own words.
relationship; inspired by a true story, Saqib Salem and
Love can be crazy, love can be twisted, and love can
Shweta Tripathi explore the innocence of first love as
be unpredictable. These films explore love beyond
they struggle to find some privacy in Koi Dekh Lega;
boundaries and conventions, breaking stereotypes. The
The Big Date is about the story of two sisters who share
thing that holds them together is unabashed audacity to
excitement over a Valentine’s Date featuring Saba Azad,
love.
Mohit Marwah and Rhea Chakraborty; veteran actors you’re never too old to love in Scandal Point.
How difficult was it to work with six independent storylines while stringing them together under one thematic rubric?
‘These are six short films, all about love. It’s meant to
I must confess that it wasn’t the easiest job, as the stories
be like a tequila shot, which leaves you high on love,’
are quite diverse, but I was clear about the fact that the
says Ashish Patel, Y-Films Vice President. Each bite-
stories must explore the purity of love. I emphasised
Farida Jalal and Kulbhushan Kharbanda prove that
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on characters more than the plot to start with and then slowly worked them into their respective plot lines.
Working with an ensemble cast, how was the experience of sketching the different characters and bringing it all together in ten-minute short stories? I troubled my writers to dig deeper in the characters’ back stories. We brainstormed for days about their backgrounds, their flaws, their needs. Shanoo Sharma, our casting director, helped us reach out to exciting actors and got this motley crew together. We had the characters on paper earlier. Now we even had faces to them. Then once you explored these characters through a lens of love, you could see the picture clearly.
Out of the six stories, do you have a personal favourite? I do love Textbook a lot. Mainly because I was moved by the performance by the kids. Kids these days are so clear about life. They took my direction so easily that I was pleasantly surprised.
Do you think it’s time for web series to give way to other formats of film-making? Is the short story format a social experiment? I’m quite under qualified to answer this question. I believe that every story has a form that it can be expressed in. Sometimes short stories suit the story better than other forms but one must definitely keep experimenting with both the story and the form.
Are there any projects in the pipeline that we should know about? There are projects but you shouldn’t know about them right now. They are still nascent. Give us a little time and we’ll make some exciting announcements. As they say, watch this space.
Love can be crazy, love can be twisted, and love can be unpredictable. These films explore love beyond boundaries and conventions, breaking stereotypes. The thing that holds them together is unabashed audacity to love.
rimzim dadu An article about Rimzim Dadu’s AW’16 Collection at Amazon India Fashion Week
N4 For Rimzim Dadu, the core of the design process lies in
on experimental surfaces. Sometimes, what we create is
creating her own textiles, as she pushes her limits to re-
so different than what we had initially imagined, and that
invent surface textures. Her work is known for the clever
constantly surprises us and keeps us going. I remember my
use of fabrics, yarns, sequins and the dexterity with which
initial days as a designer, when being in the Indian fashion
she turns them into surface embellishment. We caught up
space, everyone expected me to work with sequins and shine.
with her at the close of her debut solo show at Amazon
So I thought: Sure, I’ll do sequins, but I’ll do it my way; so I
India Fashion Week, ‘My father has been running an export
burnt them. We took each and every sequin, burnt them on
house called DeeMan International, making clothes for the
a candle flame one by one and then assembled them to form
European, American and Japanese markets for the last 25
one of my first unique surfaces. Till date, that remains one of
years. Our factory initially used to be in the basement of our
my favorite techniques.’
house. I remember spending hours in the basement after school, touching the fabrics, watching people cut, sew and
Her Autumn/Winter’16 Collection delves into three mini
embroider. I’ve grown up with clothes, fabrics and colors
stories. Fabric-on-fabric 3D appliqué work, faux-leather tie
all around me, and I think that’s where my fascination with
and dye and the metal wire story. For the first one stretches
textiles began.’
of fabric were chemically treated to prevent it from fraying as it was hand-cut and then sewn to form 3D appliqués. Tie-
The avant-garde fabrics translated into approachable
dyed faux leather, cut into specks and then assembled by
silhouettes is quite easily identified as the hero of her
hand forms the base of the second story. Plastic wires that are
Autumn/Winter’16 Collection. As the models glide past, six
treated to look like metal are sewn on fabrics, juxtaposing the
artisans sit across the ramp, developing the same fabrics
toughness of metal with the fluidity of the final silhouettes.
that formed Rimzim’s muse for the collection. Her eye for
The showstopper is Rimzim’s take on the Indian legend - the
detail shines through the entire affair, as the story of every
Sari. On a closer look, the ensemble reveals itself as a crop
unique surface along with the name of the embroiders who
top coupled with a pleated skirt, finished with an iridescent,
helped develop them is handed out to each guest, printed
midnight blue metallic pallu.
on sheets of butter paper. Later, she tells us, ‘I am not a cutand-sew designer, as I don’t relate to picking up a fabric and
Her debut solo show also happens to be her best collection
making something out of it. For me, creating my own textiles
till date. If this was about Rimzim playing to her strengths,
is more exciting. Throughout the year we keep working
she played it strong.
[31]
As the models glide past, six artisans sit across the ramp, developing the same fabrics that formed Rimzim’s muse for the collection. Her eye for detail shines through the entire affair, as the story of every unique surface along with the name of the embroiders who helped develop them is handed out to each guest, printed on sheets of butter paper.
The showstopper is Rimzim’s take on the Indian legend - the Sari. On a closer look, the ensemble reveals itself as a crop top coupled with a pleated skirt, finished with an iridescent, midnight blue metallic pallu. If this was about Rimzim playing to her strengths, she played it strong.
AMIT AGGARWAL A piece on Amit Aggarwal’s debut show at Paris Fashion Week, the collections inspiration and amplifications
N5 Amit Aggarwal, a master of structure and the
to create stripe illusion; the gold of the utensils and
unconventional, recently showed his Autumn/Winter’16
Kanjeevarams came through our signature faux metal
Collection at a private show for buyers at the Paris Fashion
strips almost forming chevrons to connect it with
Week. Born from his extensive trips to Tamil Nadu and
Jamdani patterns. A myriad of collages became the base
Kolkata, the collection sieves through a potpourri of
to bring matt and iridescent surfaces together to form
cultural references and translates it into sharp folds, rich
unusual panel patchwork in almost anti-fit and trapeze
peplums and intricate panel patchwork. Breezy Jamdani
like shapes. The domes of temples came through in tent
muslin, spruced with plastic straws and metallic panels
like silhouettes.
paints the contrast between the two cultures that inspired the collection. We get in touch with the designer as he tells us about the show that once again puts India on the global fashion map.
For your show at Paris, how important was it for you to reflect on your roots and where you come from? I feel fashion has become very personalised. Trends are
You’ve mentioned the collection’s inspiration came from your trips to Kolkata and Tamil Nadu. What factors from the cultures became central influences?
fading and people are looking at individuality and a point
My trip to Chennai influenced me with its chaos, the
experience into what they create, it eventually turns out
madness and the jumble of the coloured temples, the
unique and unlike what’s been seen before. I feel my
textiles and the shine of gold. The air-like Jamdani
roots and experiences are the only things that I stand by.
of view from creators the world over. Here comes in the significance of the personal experiences of one’s life as an inspiration to create. If one is able to translate a personal
weaves, the purity and easiness of muslin was what I took back from Kolkata.
How was the inspiration translated into textures, colours, textiles and in turn into silhouettes? The psychedelic temples of the South were blurred
Do the couture and the pret lines share the same inspiration? How are the amplifications different in each line? Considering the product comes out from the same studio, there is bound to be adherence. Our moodboards are the same, sometimes the choices of fabric and the amount of [35]
workmanship varies to suit the products ultimate place in the market. The target markets and price points and the reason to own them by the final wearer are different and accordingly are the amplifications.
How did you bring the lines together as you showed them simultaneously? We broke the couture down into separates this season for its easy adaptation with other pieces from Ready-to-Wear. It was a fun exercise. Where you mix easy with a bit of crazy; the crazy you carry with a bit of ease.
What is the one thing you’re taking back from Paris Fashion Week? Besides the overwhelming response to AM.IT, the biggest luxury stores queued up to order the couture. I am happy that I am able to make a mark on the international fashion retail scene with an aesthetic that once was considered just futuristic and ramp worthy. I guess the future just became the present.
What does 2016 have in store for you? I wish to bring the two lines closer together to form a unanimous whole. An aesthetic that transcends cultural or regional boundaries. To own a piece from our studio that you could wear in Kuwait, India or to the moon.
I feel fashion has become very personalised. If one is able to translate a personal experience into what they create, it eventually turns out unique and unlike what’s been seen before. I feel my roots and experiences are the only things that I stand by.
THE CHRONICLES OF COURAGE A feature about an incredicle project by an Indian photographer, documenting survivors of rape and sexual violence across India
N6 Smita Sharma’s tryst with photography began when she
problem must be addressed. There are many forms of
was 18. Passion turned into profession following her
sexual violence; ranging from sexual harassment and
graduation from the International Center of Photography
molestation, to sexual abuse and assault, and rape. Rape
in New York, where she specialized in photojournalism
being the most brutal of all, kills a woman emotionally
and documentary photography. She got her first taste
and physically. It leaves behind trauma and shock that is
of working for a social cause when she interned with
difficult to accept and live with,’ says Sharma.
National Geographic photographer Stephanie Sinclair, adding voice to the global campaign on child marriage—
She started this project towards the fag-end of 2014 and
Too Young To Wed. “It was a conscious and the deliberate
has documented stories from Jharkhand, West Bengal,
decision to start a project that documents the stories of
Uttar Pradesh, Delhi and its surrounding areas. Stories
survivors of sexual violence and rape,” says Sharma.
of victims from 5 to 80 years old women highlights the
Hence began Chronicles of Courage.
miserable social situations the survivors are subjected to. ‘My goal is to give voice to the survivors who are so
This ongoing project explores the stories of survivors
often treated as living corpses, shamed and ostracized
of sexual violence across India, documenting their lives
for the remainder of their lives. It is important to stand
in the aftermath of the incident that almost defines
with them, support them and change this perception.’
their existence. But Sharma’s involvement with the cause is not merely academic. She was molested by a
Some stories of survivors who were shunned even by their
college professor at the age of 18 and has dealt with the
own families after being raped has shook her. But each
culture of victim blaming on a personal level. When her
story has only renewed her belief and her commitment
cousin committed suicide after being molested, it left
towards the cause, egging her on to fight a bit more,
an indelible effect on Sharma. Since then, she has been
push a little harder to share these stories and help the
committed to the cause of documenting these stories, in
survivors cope with the repercussions and regain their
an attempt to spark conversations about the culture of
lives. ‘When I go and meet them, I don’t question them
victim blaming in India and its far-reaching effects on
about the incident- that is not important for me. I’m
the lives of these victims. ‘If you turn a blind eye, the
interested to know how they are being treated and what
problem won’t go away. It needs to be discussed and the
do they want from their lives.’ [39]
She has documented 27 stories till date. Her Kickstarter campaign is open for donations till the 28th of January, 2016 and she could use all the help she gets. The funds collected through Kickstarter will help her complete Chronicles of Courage, through which she plans to travel throughout India, adding more voices to the project. Work is also underway for a full-length documentary film, which is expected by the completion of the project. Some survivors: Shabina (20) was raped eight years ago by a man in her community. Her family and neighbours then forced her to marry him. As a result of the rape, she gave birth to a son, Ali (7). She was not accepted as a wife by the perpetrator. A year after the incident, her father lodged a police complaint and took the perpetrator to court. Shabina makes puffed rice for a living, working up to 16 hours a day and earns Rs.400 a week. “I was in pain for many days. When I saw the blood, I thought I’m going to die.” Pinky (12) had gone to see a wedding procession in a nearby neighborhood. There she met a female neighbour who invited Pinky to her home. There, she gagged Pinky and handed her over to her brother-in-law. Pinky was then raped by him. They then threatened Pinky to remain silent. After a week Pinky informed her parents who reported the case with the police. The names of the survivors and the places have been changed to maintain anonymity.
Stories of victims from 5 to 80 years old women highlights the miserable social situations the survivors are subjected to. ‘My goal is to give voice to the survivors who are so often treated as living corpses, shamed and ostracized for the remainder of their lives. It is important to stand with them, support them and change this perception.’
BHANE. A feature about a fashion label’s shift from New Delhi to New York
N7 One of our interesting homegrown fashion labels is
Anand Ahuja along with the brand’s CFO, Rohan
proudly striding into the most eclectic fashion capital:
Tibrawalla spent quite a few years in New York
New York. Bhane. has never failed to surprise us with
understanding the fashion market that prepped them for
their individualistic and unpretentious clothes. In their
this move. The clothes fit in seamlessly into the equation,
latest campaign, with a trans-atlantic shift, they are
making the move ever more organic. Their New Delhi
aiming to put the sensibilities of Indian street fashion on
to New York campaign speaks volumes about why they
the world map. But for the brand creator and CEO Anand
do what they do. With a motley mix of bloggers, stylists,
Ahuja, this had been a personal goal since Day 0. Bhane.
photographers who are front runners of the Indian
has revolutionised the street style space, with cothes that
creative force, the entire campaign was shot with ‘real
are versatile but individualistic; those that let you express
people’ instead of models. Featuring Emily Bach and
your personality through what you choose to wear.
Abigail Breslin from The Wanderlust Girls [blog], Paula Rosine [jewellery designer], Akash Shah [partner at
‘We always aspired to speak to a universal minded
Mckinsey], Dhruv Madhok [food tech start-up], Jasjyot
consumer. We see that the young urban professionals
Singh Hans [illustrator], Richen Ongmu Bhutia [blogger]
in India want the same things that the young urban
and others, the campaign was shot in both New Delhi
professionals want in the US, UK, EU or Africa. Speaking
and New York. But the identical aesthetic of the images
to a global citizen is a founding principle of our brand,’
only highlights how seamless the shift is. For Ahuja, the
says Ahuja. The emerging rise of people wanting to share
most rewarding aspect of this move is the heartwarming
their own thoughts and work was one of the main catalysts
acceptance that Bhane.us has received. “What excited us
for the birth of Bhane. ‘We stand for empowerment of
the most is proving that our product does in fact speak
the individual. We wanted to facilitate people’s ability
to a global customer. Being our founding principle, it is
to share their own style and that is what led to the
a very important objective for us,” says Ahuja. Already
beginning of Bhane. providing people the tools—in our
a step ahead, Bhane. is prepping to open up a space in
case, wearables—to express themselves more freely,’
Mumbai in the near future. We can’t wait for more.
sums up Ahuja. Defining themselves as a people’s brand, Bhane’s ethos is driven by the ideals of empowerment, individuality and universality. [43]
Their New Delhi to New York campaign speaks volumes about why they do what they do. With a motley mix of bloggers, stylists, photographers who are front runners of the Indian creative force, the entire campaign was shot with ‘real people’ instead of models.
“What excited us the most is proving that our product does in fact speak to a global customer. Being our founding principle, it is a very important objective for us,” says Ahuja. Already a step ahead, Bhane. is prepping to open up a space in Mumbai in the near future. We can’t wait for more.
LESSONS FROM MOTHER NATURE A piece about a colouring book for adults by graphic designer Kanika Gupta, that launched this January
N8 Rhode Island resident Annie Vanaman started doodling
reserve which she wanted to share. Being so close to
in an effort to quit smoking. Facing surgery and under
nature, she found inspiration everywhere, which led her
pressure to give up cigarettes, Vanaman says, she needed
to create the colouring book, through which she wanted
more than a prescription medicine to kick the habit. So
to impart the same piece that she experienced on the trip.
she started doodling and filling notebooks with mindless
The book has been approved by a therapist, who believes
lines, until she discovered adult colouring books. All the
that 21 repetitions form a habit. A long-term student of
rage in the West, colouring books for adults have began
Vipassana, Kanika agrees: ‘each message, when said 21
gaining ground in India too. Nothing tackles stress better
times while colouring, is supposed to work as positive
than an immersive, relaxing and therapeutic habit of
re-enforcement.’ So you’ll find yourself colouring snow-
filling pages of doodles with your favourite colours.
covered mountains while saying, “I’ll always stay strong, come what may.”
Picking up on this trend, graphic designer Kanika Jain Gupta released her version of a colouring book this
Next up, Kanika is planning to create a colouring book for
month. A graduate of JJ School of Art and the founder
the inmates of Tihar jail, where Vipassana is compulsory
of graphic art house, Iktaara, Kanika confesses that she’s
and has already proved to be very effective. Priced at
always looked for ways to make her art therapeutic. Titled
Rs. 540, this book promises to help you relax, improve
Lessons From Mother Nature, the book carries messages
eye-muscle coordination and increase alertness. You can
inspired by nature, intricately drawn snowflakes, sea
order your piece at iktaara.com.
otters, lotuses, mountains, sea horses who remind us of lessons we already knew, but might have forgotten along the way. ‘For instance, one of the illustrations reads, “I am unique” and has snowflakes doodled around it, because no two snowflakes are alike,’ says 32-year-old Kanika Gupta. Inspired by a recent visit to the Kanha National Park, Gupta found many stories during long drives at the tiger [47]
The book has been approved by a therapist, who believes that 21 repetitions form a habit. A long-term student of Vipassana, Kanika agrees: ‘each message, when said 21 times while colouring, is supposed to work as positive reenforcement.’
Next up, Kanika is planning to create a colouring book for the inmates of Tihar jail, where Vipassana is compulsory and has already proved to be very effective. Priced at Rs. 540, this book promises to help you relax, improve eye-muscle coordination and increase alertness.
THE LOST PARTY A short feature on a new-age multi genre music festival and its three headlining artists
N9 Driven to develop alternate cultures in India, multi-genre
shared with us their quirks and secrets. Here’s how it
festival The Lost Party has kick-started their second
went.
edition today at Lonavala. The campsite, nestled next to the Salter Lake—a 90km drive from Mumbai and
Frame/Frame
Pune—gives you all the reasons to pack your bags and creative space, the festival not only promises the best
One thing you always do before going up on stage?
of music, but it offers an immersive weekend full of art,
Always that last minute run to take a piss. Last thing you
design and film. Think acro-yoga sessions as the sun
want is to be stuck up there hopping up and down for the
rises over the lake, or star-gazing at night amidst cheery
wrong reasons.
set off. Curating talent from the Indian and International
bonfires. Festival designer, Transhuman Collective is producing the event with artists from Mumbai, Delhi,
Worst goof-up on stage?
North East, Rajasthan, Chennai and Kolkata among other
I misheard an audience member once say “F*** yeah!”
places. Adding to the alternative experiences, there will
once as saying “F*** off”. I replied with “F*** you too!”
be installations using sound and animation, 3D printing,
on a microphone, much to everyone’s confusion.
reggae aerobics, star-gazing sessions, a laughing gas stall, a pillow-fight arena, a foam pit to let off some steam and a carousel to relive your childhood.
The weirdest audience reaction you’ve ever seen? Probably that of an adequately drunk gentleman who
This year, the music line-up promises the likes of HVOB,
proceeded to do push-ups during my set.
Humble The Poet, dEbruit, Donn Bhat+Passenger Revelator, Big City Harmonics, Curtain Blue, Frame/
Contextualise your music in one line.
Frame, Karsh Kale Sound System and Swanand Kirkire
Deep, dreamy night time grooves.
among others. Joining them will be new talent Spryk, OX7GEN and electronica fusion project Karakimo.
This year, The Lost Party will be… Quite a treat for the ears!
We got in touch with three headliners of the festival, who [51]
Big City Harmonics One thing you always do before going up on stage? Hang around backstage.
Your worst goof-up on stage? I fell off the stage once.
The weirdest audience reaction you’ve ever seen? Excuse me, can you play more beats?
Contextualise your music in one line. This question could use more context.
This year, The Lost Party will be… About checking out local artists I haven’t ever seen live.
Curtain Blue One thing you always do before going up on stage? I always shout my lungs out to open up my throat.
Your worst goof-up on stage? My soundcard conking off.
The weirdest audience reaction you’ve ever seen? Guy under ‘the’ influence, almost beat me up once.
Contextualise your music in one line. It’s just what you need at 3pm on a Sunday afternoon!
This year, The Lost Party will be… Cool.
One thing you always do before going up on stage? Always that last minute run to take a piss. Last thing you want is to be stuck up there hopping up and down for the wrong reasons - FRAME/FRAME
ART FOR NEPAL A piece about how an Indian architect is helping restructure lives in Nepal
N 10 The story of Art for Nepal rekindles hope. It makes you
their lives in the face of this calamity, Rohan reached
believe in the power of good and the colossal potential
out for his sketchbook. ‘While my colleagues had begun
that lies in every individual, every nascent idea. A Delhi-
volunteering to making shelters for people in need, they
based architect and design enthusiast, Rohan Patankar
began prototyping transitional shelters at SMA. I wanted
first visited Nepal in July 2014, as a part of an architecture
to help in some way and I realized I had a travel diary
project with the Delhi based design platform, Arch i. He
filled with a bunch of drawings and notes. I decided to
instantly fell in love with Nepal. ‘Thanks to my colleagues,
reprint them as limited edition art prints and postcards.
I got a very local perspective of the city and the places
Soon enough, my architect friends Lakshmi Nair from
I visited. With my interest in keeping a travel diary, I
Chennai and Sarojini Dantapalli from Hyderabad
found myself often sitting at public places and temple
offered to extend the project by producing notebooks in
squares, drawing and writing. Living in Kathmandu was
collaboration,” says Rohan. This initiative by the three
in many ways strangely familiar to being in India, but it
architects transitioned into a successful fundraiser
was also starkly different sometimes. I found the people
called Art for Nepal. The money that was pooled in by
to be extremely warm. I knew that my colleagues were
this fundraiser helped build transitional shelters in rural
going to be my friends for a long time,’ recalls Rohan.
Nepal by the Sustainable Mountain Architecture Studio.
With a brush dipped in ink, Rohan captured the essence
Art for Nepal took off when the notebooks were added
of life in Nepal in his sketchbook. The serene temples,
to the collection. As the reach of the campaign picked
monuments, roads, buildings and people came alive with
up, more homes were built and spirits soared. Rohan
every stroke of a brush. Rohan penned down his thoughts
confesses that the heartwarming messages from the
and observations in small notes beside the sketches,
Nepalis settled abroad and from people who have
making them even more invaluable.
traveled and lived in Nepal never fail to bring a smile to his face. We got in touch with him for a closer look.
When the 2015 earthquake wreaked havoc over Nepal, memories of places that were reduced to rubble. With
Tell us more about these transitional homes that you have helped to build?
his friends in Nepal struggling to rebuild and reclaim
These shelters designed and executed by our friends
many of the sketches which still lay with Rohan were mere
[55]
at SMA were for families who lost their homes in the
to Nepal, there were massive lessons about simplicity,
earthquake, built on their plots, mostly with construction
goodness and converting good intentions into tangible
rubble from their older house and other materials
action.
acquired from close by. The result was the making of a
Apart from this, during our second trip, meeting with
house with a relatively low energy footprint and cost,
the kids who had drawn in my notebook during my first
made with local materials, giving employment and
trip was especially memorable. The realization that the
construction skills to the villagers who worked on the
effect of art could be so far reaching in real terms was
project. These are designed to last for about 5-6 years as
profound.
the families transition to more stable lives.
How do you see Art for Nepal growing? Tell us about your second trip.
Art for Nepal has grown organically throughout until
Sarojini and I travelled to Nepal in December to help see
now. I don’t think at any point any of us had an idea that
the construction through for the final two transitional
the project would come this far, so every development
homes with SMA studio in Panchkhal village in Kavre
mostly felt like a blessing. And I think there’s a lesson
district. With the contribution money leftover from the
there, in pursuing things intuitively without worrying
construction, we gave away thermals and blankets to
too much about the results impatiently. With it’s present
people we found in need of them. We found that much of
framework in place, Art for Nepal would continue to
the construction and even everyday life is affected by the
raise funds to help the people of Nepal with resources
on going blockade and fuel crisis. It was an illuminating
and assistance. It would be useful if it moves even one
four days at site where we learnt about how the act of
person to begin something where they go out of their
problem solving is central to the making of architecture.
everyday life to make a connection.
It was also a lesson about how humble rural lives in South Asia are faced with similar challenges across and
How can we contribute?
there’s so much to engage with.
You can visit www.instamojo.com/rohanpatankar to buy the limited edition art prints and postcards. After
Do you have any stories to share about the lives that your efforts have touched?
two sold out batches, the notebooks are out of stock.
By and large, I think it was our lives that were touched
idea and it’s implementation that could be for people
the most in the whole process. In the conversation with
to remember. It is about how art can affect people at
all the people who wrote in, in the collaboration across
a fundamental level and it can simultaneously touch
India over primarily a whatsapp group and in our travels
people at a tactile level.
But we think it’s not really about the products, it is the
‘While my colleagues had begun volunteering to making shelters for people in need, they began prototyping transitional shelters at SMA. I wanted to help in some way and I realized I had a travel diary filled with a bunch of drawings and notes. I decided to reprint them as limited edition art prints and postcards.’
30 DAYS OF SUMMER A feature about a tongue-in-cheek graphic series by designer Avinash Singh
N 11 Avinash Jai Singh finds his muse in the simplest of
and their existential crisis under contemporary realities.
things in life; a passing thought, a chance conversation,
Everyone today, is trying on new faces from the vast
something he heard a friend say. HIs true satisfaction
wardrobe of the internet. My art explores some very
lies in turning these musings into pieces of art. On one
familiar, everyday thoughts and finds shades of grey in a
sweltering afternoon in Mumbai, the self-taught graphic
black and white world.
designer started the graphic series, 30 Days of Summer. metaphors and social commentary. It is best described as
Why did you choose to name it 30 Days of Summer?
a visual adage to our times,” he says. Humour can leave
Summer has always been strange to me. It’s bright,
an indelible mark on an artwork, and is something he
happy, colourful, but its quite tough to deal with, on
does well. Inspired by thoughts of what keeps a family
everyday basis. Summer is great only in pictures,
together, our fixation with social media or even the ban
postcards, posters and movies. We all avoid it and stay
on beef; his artwork is layered with acute narratives.
indoors mostly, just how I see the world around me.
Tongue-in-cheek and brazen, his work is sure to keep
Picture perfect, but you can never be sure. This elusive
you engaged. We get in touch as he throws light on his
beauty inspired the name.
“This project is a series of images that blends surrealism,
project.
Tell us a little bit about yourself.
Walk us through some of the artworks in the collection and what it means to you.
Under the influence of mythological stories, local textile
When you paint an emotion, a story, the toughest bit is
market and the open sky, I decided to pursue a degree in
to paint it from an unbiased opinion. Many a times, its
graphic design. But much before that, My only pedagogy
just giving a form to any ‘figure of speech’ which I hear in
in the field of design has been my father’s persistence to
my day to day life from friends and family.
make me sketch. Everyday. I remember the essence of a word not by understanding
What is 30 Days of Summer about?
it, but by making an image of it in my head. Sometimes,
Revolving mostly around the theme of social media, it
it’s just a thought, or just some fragmentation of my
explores a fickle generation’s quest for self-actualisation
reality. For example, with the artwork Space Jar, I [59]
explore how beautiful it would have been, to measure the amount of space someone needs in any relationship. Humour is definitely the most beautiful way to express and emote, and it doesn’t hurt much.
Give us a peek into your design process. It always starts with a struggle of finding a blank piece of paper, or tissue, and that too in middle of a night. Preferably, my moleskin. I usually scribble a rough thought and write notes in context with proportion. It’s usually not far from the final design. Or sometimes, it all starts with some line, remark or conversation I hear in public, rearranging those words and the visual literature they carry, I just scribble them out. In such cases, the design is usually constructed in my head. Once I have decided the proportion of the character in context with the situation he is in, things become much easier. It’s like setting up a novel, just that one frame at a time. Emotions and gestures are very important. It needs to subconsciously show if the character is a happy one or the grumpy one. Unlike animation, a still frame doesn’t tell you whether a scene is sad or happy, so the environment makes up for that bit. It’s like the background score for a silent frame.
Are you planning to take this project forward in some way? Yeah, thanks to the Internet and social platforms, I suddenly got a bulk of orders and inquiries regarding the art prints and mobile covers. So working towards that now. It would be nice to have fun posters on the wall.
What are some of your upcoming projects? Working on some erotica graphics for a client, which I am enjoying a lot, and of course there is another series coming along.
Revolving mostly around the theme of social media, it explores a fickle generation’s quest for selfactualisation and their existential crisis under contemporary realities. “This project is a series of images that blends surrealism, metaphors and social commentary. It is best described as a visual adage to our times,� he says.
OLIO A piece on a young-gun in the fashion industry, that’s adding a dynamic voice to the Indian fashion space and is doing it right
N 12 Fashion moves much beyond the mere juxtaposition of
they will be the key players in pushing design to new
fabrics, interplay of silhouettes and a palette of colors.
horizons. And finally, it’s a bit of a paradox. We believe in
These elements come together to form a much larger
the beauty of the handmade and the handcrafted, as well
dialogue. Olio, a young gun in the Indian fashion space,
as the mind-blowing intelligence of technology,’ explains
is adding a dynamic voice to the industry, and is doing it
Aashna, when quizzed about the brand ethos.
right. The most idiosyncratic aspect of Olio is their approach Only a few months old, the label is the brainchild of Aashna
to their collections. Instead of sticking to the norms of
Singh and Sneha Saksena. Born out of their mutual love
the fashion industry, where designers work on seasonal
for geometry, the brand experiments with clean design
collections, they choose to work on a ‘story format’.
that reflects tasteful inspiration from minimalism. ‘We
‘The idea was to provide some fluidity and space in the
believe that an ideal design solution is synchronization
way that we design; to not get trapped within a certain
of form, function and minimalism. The idea is to work
aesthetic, but to be able to be dynamic. So we decided to
with simple and clean lines. Informed by traditional craft
put across our products in a story format. This means our
practices, the aim is to design enduring, covetable pieces
customers can expect freshness with every story, as well
for everyday use,’ says Aashna.
as a variety of product categories.’
The label moves beyond the usual suspects such as jeans,
The first two stories—Binary and Circus—single-handedly
leather jackets and bodycon dresses. Instead, it urges
set them apart. Binary shows the juxtaposition of two
experimentation and brings to you transitional and
strong elements—dense ebony and malleable silver,
utilitarian silhouettes that you can breathe in. An eclectic
tight leather with soft fabric, black with white. With
range of accessories and boots follow suit. ‘We pursue
Circus, they delve into the fluidity, form and playfulness
design with an intent to create borderless products. We
of performance artists, using vibrant elements such as
shift our beat with changing seasons and trends, while
printed jacquard, colourful cords and rich tassels. The
staying true to our rhythm. We believe in getting our hands
stories were sent out to test the waters. In turn, they stole
dirty, and enjoying every bit of it. We believe in the youth;
many hearts.
that their energy and ideas must be harnessed, because [63]
The label moves beyond the usual suspects such as jeans, leather jackets and bodycon dresses. Instead, it urges experimentation and brings to you transitional and utilitarian silhouettes that you can breathe in. An eclectic range of accessories and boots follow suit. ‘We shift our beat with changing seasons and trends, while staying true to our rhythm.’
The first two stories— Binary and Circus— single-handedly set them apart. Binary shows the juxtaposition of two strong elements—dense ebony and malleable silver, tight leather with soft fabric, black with white. With Circus, they delve into the fluidity, form and playfulness of performance artists, using vibrant elements such as printed jacquard, colourful cords and rich tassels.
LIFE ON YOUR TABLE A feature on a unique design idea
N 13 When Ameeta Sharma Menon started exploring terrarium
I developed with my time in conservation architecture. As
design, a unique idea—and a need of the hour—was
fresh graduates, my husband and I started up a small firm
conceived. The Pune-based architect’s ardent interest in
which today—eight years down the line—has managed to
landscape architecture led her to experiment with rare
create niche projects in hotels, luxury residences, spas,
flora and thus was born a sustainable, lush miniature
industries etc.
garden that could grow right on a table. Following extensive research, she worked with certain types of
Describe Life on your table in one line.
succulents or desert plants that worked well with each
Life on your table is miniature garden art in enclosed
other, creating self-sustaining miniature gardens inside
glass environments.
glass enclosures, which she’d call Life on your table. with various plant varieties on my own. A lot of time
How did you start exploring terrarium design?
went into trial and error, till I narrowed down the plant
With my background in landscape architecture, I have
combinations. Then, with help from a friend, I propagated
always been an avid researcher of rare flora and fauna.
it as a brand to get the idea across,” recalls Menon. These
That same research led me to the very interesting history
miniature gardens are available in a variety of bowls,
and science of terrariums. The terrarium was a chance
wine glasses, wine goblets, beakers and Victorian jars and
discovery when a scientist, Dr. Nathaniel Ward, was
can be shipped across the country. Menon of Mu Design
trying to save his ferns from the polluted London air in
believes that Life on your table is the perfect balance of
the 1820s. Back then they were called “wardian cases”.
art and science. We find out more about the project.
The obsession then took over through the Victorian era.
‘It was born as a product once I started experimenting
So as a whole there is a lot of history, science and stories
Tell us about your journey in architecture and design.
that surround the concept of terrarium which got me instantly hooked.
I started out as an architect and designer right from on the Red Fort WHO project report. A detailed eye for
Did you face any roadblocks while working on this project?
design and core understanding of the basics is something
Yes, lots of them. There is a lot of research that is still
interning at CRCI Delhi, where I worked relentlessly
[67]
ongoing to come up with better pieces and better sustainable solutions. Initially, we had a tough time putting it across to people. As India on the whole is very rich in its bio-diversity and trees are luckily a good portion of our skylines in smaller cities such as Pune, Ahmedabad, Bangalore, the idea of a smaller, miniature world only seamed like bonsai art to the unconcerned individual. Slowly, we started educating them with the concept of terrariums and the work that goes into it. It is still an ongoing process and we are getting a lot of positive appreciation for our hard work.
What makes Life a sustainable product? To start with, we use plants that are grown organically. The soil elements are organic. We use burnt ash to fertilise the soil and maintain the ph balance, along with organic manures and herbicides as per the plant specifications. So in all, it’s completely natural and sustainable.
Tell us about the collection and the variations that you offer. We have a few select pieces which are available with us. There are mainly various spherical sizes that work the best. Then we have Victorian jars that are true to the historical designs of terrariums. We also do custom installations such as large glass tables or long encasing. The glass we use is imported so that the best visual quality is achieved.
How is it different from growing an ordinary indoor garden? It is entirely different from an indoor garden. It is essentially an ecosystem within itself. We completely seal these once ready so that you don’t even have to add water. The plantation and the soil type are specially worked out.
What are your future plans? We intend to put up stores at select locations. The idea is to reach appreciative and passionate nature lovers who can truly enjoy the design and uniqueness of Life on your table.
‘we use plants that are grown organically. The soil elements are organic. We use burnt ash to fertilise the soil and maintain the ph balance, along with organic manures and herbicides as per the plant specifications. So in all, it’s completely natural and sustainable.’
BURNING AGAINST THE DYING OF THE LIGHT A feature on a mixed media art exhibition that focuses on the Tibetan struggle for freedom
N 14 To explore Tibet’s ongoing political struggle, especially
their language, religious practice and cultural identity.
in the form of self-immolation, Indo-Tibetan filmmakers
‘Any kind of protest has become impossible. In light
Ritu Sarin and Tenzing Sonam are showing for the first
of such an unbearable situation, Tibetans have turned
time in India a selection of mixed-media installations and
to the only form of protest available to them: to self-
video works in an exhibition titled Burning Against the
immolate’, says Sarin. Since 2009, 149 Tibetans have
Dying of the Light at Khoj Studios, New Delhi. Born out of
self-immolated. Sarin explains, ‘When one sees a video
their sense of responsibility as artists and filmmakers to
of a human being on fire, it is such a powerful, horrifying
inquire deeply into these protests, Sarin and Sonam, who
and numbing sight that it is easy to lose track of what
are also the directors of the Dharamshala International
the act represents. Our challenge was to use these images
Film Festival, hope to share a crucial conversation
in a way that allowed the viewer a deeper understanding
through the exhibit.
of the socio-political imperatives that catalysed the actions and at the same time, provided an insight into
Sonam was born to refugee parents. His father was
the individual motivations that gave an individual the
deeply involved with the Tibetan resistance movement,
courage to take such a drastic step.’
which instilled in him a strong sense of commitment to the cause from a very tender age. After Sarin met Sonam
The exhibition will showcase mixed-media sculptures
at school, she too became proactively involved with the
and installations like The Wheel of Light and Darkness
movement. Later, an opportunity to travel with, and film
and Memorial. The Wheel of Light and Darkness is a
the Dalai Lama on several trips only strengthened their
Buddhist prayer wheel, but unlike a typical prayer wheel
belief in what they were fighting for.
it is ringed with metal bars and barbed wire. Embedded around the wheel are a number of mobile phones, with
Through this exhibition, a range of art pieces and
each screen playing images of self-immolation as these
documentaries is presented in one space and under
acts were originally filmed. Memorial is a recreation
a broad thematic rubric. It explores Tibet’s volatile
of Jamphel Yeshi’s sleeping area in his rented room in
situation under the Chinese rule. Life in Tibet is rife with
Manju ka Teela, the Tibetan refugee settlement in Delhi,
draconian policies backed by physical and psychological
exactly as he left it on the morning of his self-immolation
intimidation which has left Tibetans struggling to retain
at a protest rally in New Delhi. [71]
Life in Tibet is rife with draconian policies backed by physical and psychological intimidation which has left Tibetans struggling to retain their language, religious practice and cultural identity. ‘Any kind of protest has become impossible. In light of such an unbearable situation, Tibetans have turned to the only form of protest available to them: to self-immolate’, says Sarin. Since 2009, 149 Tibetans have self-immolated.
Asked why they chose to name the exhibition Burning Against the Dying of the Light, Sarin says, ‘The title is a reference to Dylan Thomas’ wellknown poem, “Do not go gentle into that good night”, with its refrain: Rage, rage against the dying of the light.
ST+ART A piece on St+art: an initiative that’s painting up the country’s derelict walls and redefining youth culture in India
N 15 For years, the walls of the cities across India have stood strong and have silently watched the city change. Two years back, a group of artists got together to change the walls itself—splash some color and breathe life into it. With an intention to bring art out of the galleries and into public spaces, Akshat Nauriyal, Arjun Bahl, Giulia Ambrogi, Thanish Thomas and Hanif Kureshi put together St+art Festival, ‘A collaborative plaform for street artists from India and around the world. There are not too many museums in India and also very less galleries. Art is a little ignored and has become more of a commodity. Public art will bring back the importance and the value associated with it,’ says Arjun. Taking over Bandra, Delhi Police Headquarters and Shahpur Jat Village in their previous editions, St+ art has been broadening the spectrum of public art on Indian shores, turning the derelict walls into canvases. St+art 2016 grazed new heights as it brought together the first ever public art district in India—Lodhi Art District. Lodhi Colony is being transitioned by a motley mix of artists, one wall at a time. Over 25 street artists from India and around the world have been working to re-invigorate the iconic colony in Central Delhi. ‘By the end of February 2016, several walls between Khanna Market and Meherchand Marker will be turned into a spectacle—an open air art gallery,’
promises the team on their website. Nestled there is an artwork by Suiko from Japan. Titled The Lotus, the piece is Suiko’s take on the national flower of India, re-interpreted in his signature curved lines and Japanese characters. Chifumi from France also lent a stroke to a wall of the art district. In a mural called Padma, she blends together the Padma Mudra—a symbolic hand gesture to depict a lotus— and Khmer patterns from Cambodia, where she currently resides. Padma was one of the first artworks that kicked off the Lodhi Art District project. Moving elsewhere, St+art shifted its focus to the Dustbin Collection Center in Defense Colony. Horus from India took over a wall in the area, bringing it alive in technicolor. The mural, titled Garb Age is the artist’s take on consumerism and its effect on the world. In another corner, Collective Licuado and Alfalfa from Uruguay, turned a wall into a reflection of the many things they found interesting in the city. Infusing Hindi Typography, they left a little note on the piece, for the tea vendor who has a stall right next to the wall. Lately, WIP—The Street Art Show has the team burning the midnight oil. The artists have turned [75]
the largest dry port in Asia, Inland Container Port, into a walk through installation. The artists have painted around 100 containers inside out. ‘The show also retains its roots of street art by having a space that is constantly transforming - unlike the usual static experience of an art gallery or museum. Through WIP, St+art India aims to create an art-hub in an unexpected space to offer diverse sectors of society newer experiences, especially to people who are excluded from the reach of art,’ says Arjun. Once the exhibition has closed, the 100 containers shall remain painted and travel in India for their initial purpose of transporting goods. The one-of-a-kind street art show is being held at ICD, Tughlakabad, Okhla till the 28th of February, 2016.
For years, the walls of the cities across India have stood strong and have silently watched the city change. Two years back, a group of artists got together to change the walls itself- and founded st+art. Taking over Bandra, Delhi Police Headquarters and Shahpur Jat Village in their previous editions, St+ art has been broadening the spectrum of public art on Indian shores.
PRATAP CHALKE An article on a young illustrator, who’s making news with his idiosyncratic style
N 16 ‘Eat, sleep, draw, repeat is the motto I live by,’ says
earliest memories of drawing is my mother teaching me
Pratap Chalke, a rising illustrator. Growing up in a
to draw a female face by tweaking the number four in the
small village in Sindhudurg, Pratap found inspiration
Devanagari script. I still remember how to do that.’
almost everywhere. He documents his daily life and breathes life into his observations with fluid brush
Working with charcoal, brush pen, watercolor along with
strokes and hypnotising details. The bearded men and
digital art on Photoshop and Illustrator, he doesn’t shy
curly haired women who come alive in his sketchbook
away from experimentation, but in fact strikes a perfect
tell a story of their own. ‘My daily life is my inspiration.
balance between the traditional and the digital. Amidst
My experiences and my reaction towards them form the
his digital artworks, his personal favourite is a recent
basis of my practice. People I see on daily commute turn
illustration for Gaysi Zine, born out of a spontaneous
into portraits in my sketchbook. I try to enhance these
ideation. ‘Traditional mediums are the base of every
characters in different styles by adding layers to their
artist, and digital medium is crucial for evolving as an
personality,’ he says, describing his body of work.
artist,’ says Pratap. But the beauty lies in re-discoverng a medium; interpreting its nuances with a fresh
With a B.F.A in Applied Art from B.S Bandekar College
perspective. In a new series of portraits titled Dhaatu,
of Fine Art, Pratap juggles his job as an illustrator with
he re-interprets his fluid brush pen portraits in metallic
Locopopo and his projects as a freelance artist. ‘I always
colors. For Pratap, growing as an artist is all about
loved to draw. I remember doing my homework on
pushing his limits. ‘I want to explore and try new tools,
one side, with a slate tucked under my books, where
different mediums and styles. This year the focus is on
I doodled whenever I could take a break. One of my
experimentation of illustration techniques,’ he says.
[79]
‘Eat, sleep, draw, repeat is the motto I live by,’ says Pratap Chalke, a rising illustrator. Growing up in a small village in Sindhudurg, Pratap found inspiration almost everywhere. He documents his daily life and breathes life into his observations with fluid brush strokes and hypnotising details.
‘Traditional mediums are the base of every artist, and digital medium is crucial for evolving as an artist,’ says Pratap. But the beauty lies in re-discoverng a medium; interpreting its nuances with a fresh perspective. In a new series of portraits titled Dhaatu, he re-interprets his fluid brush pen portraits in metallic colors.
TRAVEL PHOTO JAIPUR A piece about Jaipur’s first open air photography exhibition
N 17 Photography has the power to bewitch the mind and
through Central Asia between 1403 and 1406. Lara’s
transport it to places it has never been. Calling itself
objective was to compare the diplomat’s chronicles
‘a festival on wanderlust’, Travel Photo Jaipur is an
with the contemporary situation of a country that was
international open-air travel photography festival that
going through enormous transformation after the
opens on the 5th of February, 2016. It brings to the fore
disintegration of the Soviet Union. Both travellers, while
a curated selection of international photography inspired
separated in time, shared an intense desire to find wonder,
by the notions of journeys and visions as a traveller.
that elusive concept that Europeans have consistently
Partnered by the Department of Tourism, the festival
tended to locate in Asia, perhaps as an acknowledgement
will bring together fourteen exhibitions from around
that there were unimaginable wonders to be found in
the world. The work will be printed in large formats
cultures untouched by Christianity.
and displayed at some of the landmarks of the Pink city
the many venues. “The residents of Jaipur, who live in
Catherine Balet, France, Looking for the Masters in Ricardo’s Golden Shoes (20132015)
one of the most visited and celebrated cities of India, are
On a summer day, a few years ago, Catherine Balet was
used to being photographed. With Travel Photo Jaipur,
having breakfast with her friend Ricardo at a Paris café.
the gaze is now reversed, and it is their turn to observe
She suddenly had a vision of him as the famous Picasso
the photographic wonders of the world,” says Lola Mac
as portrayed by Robert Doisneau. Almost like children
Dougall, Artistic Director of the festival.
at play, they agreed to re-enact the famous photograph,
which will double up as galleries—Hawa Mahal, Albert Hall Museum and Jawahar Kala Kendra being three of
initiating the “search for the masters”, a series that Here are five photographers from Travel Photo Jaipur
features today 110 photographs, which will be published
whose work you should look forward to:
by Dewi Lewis in 2016. The septuagenarian Ricardo thus became the photographer’s muse, a charismatic sitter
Aitor Lara, Spain, Tower of Silence (20052008)
who added to these re-creations one element from his
Aitor Lara visited to Uzbekistan to follow in the footsteps
leitmotif to re-visit the golden moments of photography,
of Spanish Ambassador Ruy de Clavijo, who travelled
from a first self-portrait of 1839 to contemporary trends.
own life: the golden shoes. The shoes soon became a
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Using a very contemporary practice, the appropriation,
different ‘types’ of people against the consistent
this journey through the history of photography questions
backdrop of the train, the camera granted me the license
our perception of memory and makes us wonder what
to interact and stare at my travel companions”.
makes a picture iconic.
Laurent Chehere, France,The Flying Houses (2007-ongoing)
Siya Singh Akoi, India,The Dog Show Project (2009-2010) In the winter of 2009-10, Siya Singh Akoi started a
Laurent Chehere, inspired by a poetic vision of old Paris,
cross-country tour of dog shows, visiting twelve cities,
transforms ordinary homes in the outskirts of Paris
between Chandigarh and Chennai. In order to draw the
into fantastical buildings presented as aerial still lifes.
viewer’s attention to tiny details of the portraits and
Separated from their urban context and broken free
to make her subjects feel more aware of themselves as
from the anonymity of the street, these buildings narrate
they stood in front of her, the photographer journeyed
a story about the individual lives of their inhabitants.
with a makeshift 9×9 foot ‘studio’ made of cloth. Singh
From afar, the houses look whimsical and carefree,
Akoi was interested in exploring the commercial nature
but upon closer inspection, the details of their dwellers
of dog shows, for she felt the canine breeding market
reveal a more complex story. In this surreal universe,
was transforming the relationship between ‘man and
immovable assets become just the opposite: a means of
his dog’.There are some photo essays that stoke in the
transportation that remind us that at times a change of
viewer a curiosity about the circumstances in which
context is all it takes to start travelling.
the photographs were shot, a desire to understand the photographer’s journey. Singh Akoi’s series is one
Nishant Shukla, India, Brief Encounters (2008-2009)
such instance, in which her determination to travel,
Till date, the train remains India’s favourite means of long-
capture her subjects, underscores every portrait. A lover
distance travel, and travel as a theme has preoccupied
of canines herself, Singh Akoi has never paraded any of
photographer Nishant Shukla for some years.In 2008,
her own eight dogs at shows. “My dogs don’t wear collars
Shukla embarked on a train trip that took him from
and don’t know how to walk on a leash” she says, “and
Jammu Tawi to Kanyakumari and in 2009 from Okha
my handsomest one would probably bite the judge.”
to Guwahati, thereby reinterpreting the existing railway grid through his own personal experience.The result is a series of portraits of people he encountered on his journeys. Says Shukla of this endeavour, “By recording
sometimes in uncomfortable circumstances in order to
Photography has the power to bewitch the mind and transport it to places it has never been. Calling itself ‘a festival on wanderlust’, Travel Photo Jaipur is an international openair travel photography festival that brings to the fore a curated selection of international photography inspired by the notions of journeys and visions as a traveller.
ARTISAU An article about a young fashion label with a refreshing take on ethnic style
N 18 As Spring sets in and our wardrobes gravitate towards airy
reaches out to Bengal for its cotton muslin and Tussar,
silhouettes, Artisau’s breezy garments fit the bill perfectly.
and to Bihar for its cotton silk. When conceptualising a
Based out of Delhi, the label celebrates simplicity and
collection, Simran starts by looking back. ‘We are inspired
drives home the fact that less is always more. Simran
by memories and the abstractness of nature,’ she said.
Chaudhury’s romance with design began when she
The fabrics are curated following the concept sketch. The
joined NIFT, followed by four years of experience with
textiles are designed in-house, which are then woven by
the veteran designers Abraham and Thakore. A journey
talented craftsmen across the country. When founding
that started by knitting clothes for dolls gave birth to
the label, inspiration also came from the late Prime
her own label in 2015. When Simran started Artisau,
Minister Indira Gandhi’s wardrobe, with its handloom
she found inspiration in memories from her childhood.
saris and overcoats, confesses the entrepreneur. She
‘I belong to a traditional family from Punjab. Although
reinterprets her muse in pleated tunics and long shirts
raised in Delhi, I’ve grown up seeing my Grandmother
paired with dresses in fresh lime, powder blue and yellow
and aunts sew their own clothes and home textiles. Even
as warm as sunlight. With a keen eye for detail, the pieces
the side cuts were patched up to use as pouches and mats.
are finished with dainty drawstrings and hand beaded
My Grandmother sewed her own delicates too! There
buttons. Reminiscent of men’s kurtasz, the garments
was a kind of meditation in those chores; a simplicity.
boast the same simplicity that Simran speaks of.
Obviously, I picked up and and began sewing myself. I gathered textiles wherever I went; mostly small lots and
Coming up is a summer collection inspired by artist Agnes
hand woven fabrics. Artisau, literally means ‘crafted
Martin’s drawings; light contrasting checks and stripes in
by artisans’. It was born out of a desire to derive from
light-as-air silks, cottons and linen. Keep your eyes peeled
past experiences and to make clothes that are subtle
as Simran breathes life into the fresh garments that are as
and reiterates the wisdom in dressing simple,’ explained
effortlessly casual as formal.
Simran. With a driven focus on natural fabrics that are handwoven, Artisau’s garments are born out of close collaborations with artisans from across India. Simran [87]
As Spring sets in and our wardrobes gravitate towards airy silhouettes, Artisau’s breezy garments fit the bill perfectly. Based out of Delhi, the label celebrates simplicity and drives home the fact that less is always more.
With a driven focus on natural fabrics that are hand-woven, Artisau’s garments are born out of close collaborations with artisans from across India. Simran reaches out to Bengal for its cotton muslin and Tussar, and to Bihar for its cotton silk.
ANOMALY A feature on a new, chic and individualistic fashion label that launched in Delhi in December 2015
N 19 Born out of Medha Khosla’s incessant struggle to find
design sensibilities and technical skills as well as gain
the perfect workwear essentials, online clothing brand
deep insight into the workings of a fashion business.
ANOMALY’s first collection lives up to its motto of from Pratt Institute, New York, Khosla strives to craft
When did you conceive the idea of ANOMALY? What led to it?
transitional essentials for round-the-clock style. With
I had been working for corporate fashion brands for
a penchant for the minimal, the pieces are simple,
years, and I always struggled to dress for work. It’s been
utilitarian and tasteful. We asked her more about her new
a constant challenge to find quality daily wear at an
label that was launched last week.
affordable price, yearning for a closet replete with easy-
‘clean design, functionality and versatility’. With a BFA
to-wear essentials that I could wear from day to evening.
How did your journey in design begin?
I started exploring the Indian market, soon realising that
It began with an art class in high school. I was taught by
there was a need for well-made, affordable, easy to wear
an incredibly creative, inspiring and radical art teacher
separates that women could wear from day to evening.
one could only hope for, at that age.
That’s how it happened.
How did your BFA from Pratt Institute and work experience in brands like DKNY contribute to your journey?
Tell us about ANOMALY and what drives the brand ethos.
The BFA program at Pratt offered an all-rounded
minimal essentials that can be worn from day to evening.
education. I had the opportunity to explore and develop
Our brand embodies a way of life for the modern woman
my design and technical skills in a very collaborative
who prefers understated elegance to superfluous
environment. Being a progressive and diverse art school,
ornamentation. Our products are hand-cut and produced
the exposure I received by interacting and studying
in-house by our talented team of karigars. Each garment
with fashion, art and architecture students from all
is clean finished with superior construction techniques
over the world undoubtedly prepared me for a 10-year
and details. Clean design, functionality and versatility
career in the New York fashion industry. Working for
are at the core of the design process.
ANOMALY is an online clothing brand specialising in
contemporary brands such as DKNY helped shape my [91]
Who is the ANOMALY woman and how do you define her? A woman on the go. She is looking for comfort, elegance and style no matter where she is. Unwilling to compromise on quality and value, she seeks clothes that enhance her personal style.
Describe your first collection and its influences. Our first collection is an ensemble of streamlined silhouettes that explore the idea of femininity and comfort. The pieces are explored in fabrics such as silk, cotton and linen keeping in mind the season. The colours are rich hues of navy, burgundy and umber along with the classic black and white. Each style is carefully designed to be functional, yet stylish. Clean lines, superior finishing and tailoring define the collection. I wanted to create transitional pieces one could wear with ease through out the day.
With so many others in the quest for minimal and clean design, what sets ANOMALY apart? What sets ANOMALY apart is our approach to design and function. In a market saturated with either fast fashion retailers or expensive designer brands, we strive to be the only homegrown online clothing brand that offers minimal, superior quality everyday essentials at a great value. Effortless pieces that every woman can wear throughout the day, dressing up or down depending on the occasion.
Where is ANOMALY headed? Give us a peek into the future of the brand. We want to develop our offerings for women further, exploring fabrics, colours and silhouettes, while staying true to the brand aesthetic. Creating a unique online shopping experience for our customers is key so that they come back a second time around. We hope to introduce a small men’s and accessories collection in the near future, but we’re not sure when that will be. We’re taking one step at a time!
Our first collection is an ensemble of streamlined silhouettes that explore the idea of femininity and comfort. The pieces are explored in fabrics such as silk, cotton and linen keeping in mind the season. The colours are rich hues of navy, burgundy and umber along with the classic black and white. Each style is carefully designed to be functional, yet stylish.
IN & OUT OF TIME A piece on an art exhibiton by four international artists
N 20 The physical passing of time is impossible to hold on to, but the
the present. Her wall sculpture, called Omphaloskepsis, is
psychological experience of time offers unfettered reflections.
her interpretation of the ruined state of human legacy. The
It allows us to cherish the present, remember the past and
Romanian painter Adrian Genie is fascinated by the history of
behold the future. Four contemporary artists come together as
the 19th and the 20th century. Often referred to as The History
they try to travel through and with time in an exhibition titled,
Painter, his inspirations from the 20th century Europe, and
In & Out of Time, presented by Galerie Isa in Mumbai. ‘The
the Jungian notion of the collective conscious comes alive in
title of the show is paradoxically specific and obscure. It refers
oil on canvas, in his Self Portrait in Winter.
to the human experience of a linear reading of time, of living within a specific period of time, or looking back on a certain
The German artist Michael Kunze explores art that fell outside
period of history. It also suggests a dislocation of being either
the notion of Modernism, which was called the Shadow-Line
anachronistic or ahead of one’s time,’ says Ashwin Thadani,
of Modernism. Finding inspiration in both painting and
Director of Galerie Isa.
film, Kunze brings together No Bride No Fear, a piece that cannot be assigned to any particular time but which belongs
Curated by British art critic and curator Jane Neal, the show
to the same blurring lines between art movements that he’s
brings together four leading contemporary artists—Diana
been studying. Khan reflects on time represented as memory
Al-Hadid, Adrian Ghenie, Idris Khan and Michael Kunzel.
and history. In 2014, when he repeated every page from the
‘I wanted to explore the relationship between painting and
Quran and condensed and digitally layered the images, he
the concept of time. Drawing and painting can bridge time;
was hinting at the repetitive rituals of Islam, into which he
they can unite the real with the imagined, the past with the
was inducted as a child by his Pakistani father. In Emotional
idea of the future. These mediums can suspend time; it’s an
Infectiousness, as he repeatedly stamps a paper with a portion
incredibly inspiring subject,’ says Neal.
of text written by Mark Rothko, he creates and erases, adding new layers and going back and forth in time, while creating
Al-Hadid has often found inspiration in her references of art
something new.
from the past. One such piece that has left an indelible effect on her is The Allegory of Chastity, an oil-on-wood work painted
Time is ‘the conundrum that captures the imagination of all
by Flemish master Hans Memling. Al-Hadid’s work has a
four artists in this exhibition; for time is one thing in our lives
sense of history repeating itself, through which she catapults
we cannot bend to our will, and as a consequence, it is perhaps
the viewers into the future, giving them a view of the past and
the greatest unstoppable force to contend with.’ [95]
The physical passing of time is impossible to hold on to, but the psychological experience of time offers unfettered reflections. It allows us to cherish the present, remember the past and behold the future. Four contemporary artists come together as they try to travel through and with time in an exhibition titled, In & Out of Time, presented by Galerie Isa in Mumbai.
‘The title of the show is paradoxically specific and obscure. It refers to the human experience of a linear reading of time, of living within a specific period of time, or looking back on a certain period of history. It also suggests a dislocation of being either anachronistic or ahead of one’s time,’ says Ashwin Thadani, Director of Galerie Isa.
EROTEXT An article about poet Sudeep Sen’s debut venture into micro fiction
N 21 Sudeep Sen finds poetic stimulus in everything that
took place with ease, flowing quite organically and naturally.
surrounds him. His journey into the world of poetry began
These highly wrought, tight literary prose pieces have been
at the age of seventeen, when his grandfather printed,
written alongside the poetry I was writing all along. It did
photocopied and bound his first manuscript of poems as
not feel very different, in the sense, that the particular form
a graduation gift, titled Leaning Against the Lamppost.
chose itself for this book.
Following over a dozen collections of poetry, EroText is
desire, disease, delusion, dream and downpour. We got in
To an untrained eye, the pieces can seem to flow as unstructured thoughts, some as small as a line and some going into pages. What helped you find common ground to compile these scattered writings?
touch with the award-winning poet, and he took us through
In my view the pieces have organically arranged themselves
the story behind EroText.
in groups without me asserting too much force from the
Sen’s first book of fiction. A reflection of contemporary prose fiction, this book strings together short, tight, gripping pieces of micro-fiction. Sen captures love, pain, longing, desire and darkness in short tales spread across five heads—
outside. If you analyse the sounds and metaphors closely,
Before EroText, we’ve read most of your writing as poetry. What inspired you to write prose? How did the process feel different this time?
they have been dutifully orchestrated with an overall
Indeed, up until now, most readers have experienced
and intent.
architectural and sonic structure in mind. Of course, I also wrote new pieces that found their place in a particular section of the book depending on the subject matter, mood
my creative writing as poetry—i.e. poetry that looks
at the edges and it is this open space that EroText occupies.
Across the five sub-categories—desire, disease, delusion, dream, downpour—you take us through your many journeys in place and time. How difficult was it to decide what belonged to which?
At the launch of EroText in Delhi, someone described the
It wasn’t difficult to decide what belonged where. As an
book as ‘prose written with poetic intent’. For me, the process
example, let me talk about ‘Disease’, ‘Downpour’ and
‘conventional’ with line breaks and other poetic devices. The prose pieces in EroText could fall into a genre called ‘prosepoetry’ or ‘micro-fiction’—both recognised as specialised literary sub-genres. The lines between the genres are blurred
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‘Desire’ sections. The ‘Disease’ or ‘BodyText’ section of this
‘unlimited freedom’; my own remoulding of the ekphrastic
book contends with private and uncomfortable areas of
technique; Auguste Rodin’s passionate dictum where
pain, illness and disease—an example of how a prolonged
‘the artist must be ready to be consumed by the fire of his
anesthetic medical experience can give rise to lyrical writing,
own creation’ form the essential keystone for the soul and
inspired by and in spite of its sterile surroundings.
syntactical structure of the experimental fiction in EroText. So, unsurprisingly, I use a highly wrought stylized mode of
‘Downpour’ celebrates and reflects on rain as experienced in
micro-fiction that overlaps with aspects of prose-poetry, and
the Indian Subcontinent—its passion and politics, its beauty
poetry that overlaps with aspects of fiction.
and fury, and its ability to ‘douse and arouse’. It explores the various moods that water and fluids inherently unravel.
In EroText, I have also experimented with language like
With regard to ‘Desire’—the philosophical, physical, textural
one would in the rendition of classical Indian raga, where
and tonal aspects of desire have fascinated me for years. I
the same piece of song or text can be variously sung or
find it truly baffling that in modern-day India, a country
interpreted by different practitioners, albeit in a highly
where the Kama Sutra was written and the erotic sculptures
controlled and dexterous manner. So an old poem may have
of Khajuraho, Konark and others were celebrated once,
been revived or reincarnated as a prose text to convey a
the practice of erotic literature is largely kept under wraps.
different angle of the same story, a happenstance, or another
Admittedly, it is a difficult space to write in, a thin area where
hidden moment in time. Changing the form without at all
one figuratively skates on a razor’s edge. If one pushes it too
altering the textual content can be very rewarding, albeit
much, then one could enter the pornographic space; and if
risky at the same time. But then, what is writing, if there
one undercooks it, it could turn out as callow love poetry as
is no risk-taking. What is the point if one is not willing to
it so often does by amateur writers. So I took it upon myself
bend and push the conventional boundaries of genre to
as a challenge to write within this sub-genre. As a result,
come up with an alternate score or a variation, much like the
many pieces in the sections — ‘Wo|man’, ‘Lines of Desire’
formal play in classical music and jazz improvisation.I have
and ‘Gaayika’r Chithi: Notes from a Singer’s Scoresheet’ —
admired crossover writers who have pushed the boundaries
obliquely take on the provocation to create contemporary
of fiction, non-fiction and poetry. Often the best and most
literary erotica with grace and lyricism.
sophisticated writings I have read have been those that are difficult to pin down, genre wise — unless one is only looking
The book is an exercise in micro-fiction. Could you describe that term in your own words?
superficially at the visual layout — i.e., if it looks like a block
“A novel is a meditation on existence . . . The form is
poetry.
unlimited freedom,” wrote Milan Kundera. Kundera’s
of text, it must be prose — if it has line breaks, it must be
In literature, there is a whole wide area of beautifully
— angularly and through a process of osmosis — takes its
articulated penumbra where the best practitioners of this
varied inspiration from multiple sources, among others:
particular crossover art operate. It is a space where the
films such as Sergei Eisenstein’s Battleship Potemkin, Orson
conventional definitions of genre evaporate, expand, merge
Welles’s Citizen Kane, Wim Wenders’s Wings of Desire and
and morph into non-conventional literary pieces that act as
Krzysztof Kie?lowski’s Three Colours trilogy: Blue, White
‘well-built art objects’—artifacts that are tactile, textured and
and Red; the photography of Ansel Adams, Henri Cartier
three-dimensional even on a flat printed page—narratives
Bresson and Sunil Janah; black gospel music, rhythm and
that may not necessarily have a linear plot; or even a
blues, Igor Stravinsky’s The Rite of Spring and the Moody
beginning, middle and an end.
Blues’s Days of the Future Past; architectural grammar of the modernists like Frank Lloyd Wright, Louis Kahn,
EroText is an experimental book. It attempts to redefine or
Le Corbusier and I.M. Pei.More directly in the world of
extend the standard genre-classifications of fiction, non-
literature, it would include the erotic ancient Tamil verses
fiction and poetry. I can tell you, from what I can see from the
of the Sangam period, Sappho’s fragments, Carole Maso’s
early market and critical response, that as a book of micro-
Aureole, Anne Michael’s Fugitive Pieces, Roland Barthes’s
fiction it is generating interest from an entirely different set
A Lover’s Discourse, Italo Calvino’s Difficult Loves, Michael
of audiences who see themselves as consumers of general,
Ondaatje’s Collected Works of Billy the Kid, Anne Carson’s
commercial and literary fiction, and not perhaps of poetry.
writings, Joseph Brodsky’s Watermark, and Derek Walcott’s
So that is a very healthy and positive sign.
Tiepolo’s Hound, Omeros and his 1992 Nobel Prize lecture, ‘The Antilles: Fragments of Epic Memory’.
Would you like the reader to explore your journey from start to end, or flip in-betweens in no particular order?
Finally, my own primal passion for topography and
The beauty of this book and its construction is that that the
and intellectual — are intensely evident in the work. But
reader can come in at any point and from anywhere. The arc
ultimately, EroText is a considered meditation of the often
is obliquely cyclical in a way. However it would help to read
publicly unexplored aspects and subtle grey areas of ‘desire,
each section as a whole as they contain a specific common
disease delusion, dream and downpour’. I desire for my
atmosphere of content, mood and tonality.
readers — to peruse and rejoice — be moved, scarred and
terrain, science and design — real and imagined, tactile
jolted — to feel, lust and celebrate — the finely calibrated text that is unrestrained and uncontained, devoid of boundaries,
What inspired EroText? The broad cadence, content and composition of EroText
fully free in a map-less organic terrain.
The beauty of this book and its construction is that that the reader can come in at any point and from anywhere. The arc is obliquely cyclical in a way. However it would help to read each section as a whole as they contain a specific common atmosphere of content, mood and tonality.
EroText is an experimental book. It attempts to redefine or extend the standard genre-classifications of fiction, non-fiction and poetry. I can tell you, from what I can see from the early market and critical response, that as a book of microfiction it is generating interest from an entirely different set of audiences who see themselves as consumers of general, commercial and literary fiction, and not perhaps of poetry.
MIND THE GAP A piece on artist Dia Mehta’s debut solo show - Mind The Gap
N 22 Mind The Gap, the debut solo exhibition by Dia Mehta
Although devoid of human presence, a closer look at the
brings together a chunk of the artist’s body of work, put
architectural subject reveal the possibilities of public
together over five years. Through her work, she examines
and private moments that could coexist in these pubic
the contemporary status of photographic images,
spaces. ‘There is an element of a dream-like and surreal
the minimal possibility of introspection, and hidden
characteristic that gradually reveals the strata of meaning
structures of meaning in the mundane. ‘The challenge
my intention as an artist. Photography being my primary
of depicting a story within one frame fascinates me,
discipline, my final work skillfully involves elements of
and becomes a primary motivating element of my work
sculpture, performing and craft. The amalgamation of
which instigates the viewer to project a story in relation
form and narrative compels the viewer to interact with
to the constructed image that is whimsical, symbolic
distinctive stories woven into the imagery. There are
and sometimes provocative with certain timelessness
several ideas behind the show, but they are all centered
to its meaning and context. My work addresses gender
around my interest in private experiences in everyday
identity, the fragility of relationships and the underlying
public spaces. The title Mind The Gap is a reference to
threads that underpin society,’ said Dia.
the perceptual gap between how we see our live and how we live them,’ explained the artist.
‘My father enjoyed photography as a hobby. I grew up around him and his camera and that’s when I really got
In the past, Dia has worked with a wide range of
curious about this art. This was a long time ago when
materials constituted in a constructed image, ‘Life-sized
cellphones didn’t have cameras; cameras itself were not
mannequins assembled studio sets or even the frames
very accessible. I studied photography at The Parsons
that encase my prints. I take pleasure in attending to
School of Design, New York. The course taught me a lot
small details that conceptually enhance the composition
of technique which in retrospect was very crucial, as this
at large. In Mind The Gap, I have indulged in creating
was the time when photography saw a shift from film to
a photographic image of sculptural objects created from
digital. I got to study both aspects of it and understand
recycled trash, and found magazines, wasted paper,
the nuances of the art,’ she said. Her photographs are of
news-paper and old card board boxes.’
life size, three-dimensional sets that are painstakingly put together from old magazines, newspapers and cardboard. [105]
Mind The Gap, the debut solo exhibition by Dia Mehta brings together a chunk of the artist’s body of work, put together over five years. Through her work, she examines the contemporary status of photographic images, the minimal possibility of introspection, and hidden structures of meaning in the mundane.
‘There is an element of a dream-like and surreal characteristic that gradually reveals the strata of meaning my intention as an artist. Photography being my primary discipline, my final work skillfully involves elements of sculpture, performing and craft. The amalgamation of form and narrative compels the viewer to interact with distinctive stories woven into the imagery.’
THE INK BUCKET An article about a unique new accessory label
N 23 The Ink Bucket was born when Vidhi Khandelwal
hand-drawn prints as Vidhi christens each piece with the
realized that she could not stay away rom her diaries
name that reflects its distinct personality. Somewhere
and drawing tools for long, and had to create something
along the way each bag becomes much more than an
of her unending passion for art. ‘Half of my school days
accessory, and morphs into a companion. ‘Today’s
were spent in the art room; often a byproduct of wanting
generation is growing up in a paperless world. A world
to miss the morning assembly, while the rest of the day
where Hallmark stores barely exist because people now
was lost in doodling on the corners of my text books or
send e-invites and e-cards. TIB is an attempt to bring
waiting for the exams to get over just to complete that
back the traditional tools and create products capable of
artwork for my wall,’ says the 23 year-old entrepreneur.
bringing a smile to your face. My vision for the brand is
Cut to today, she’s busy working on the second collection
to create an environment which enables you to use your
of accessories for The Ink Bucket, where each piece dons
flaws and imperfections to charmingly brand your own
her hand-done illustrations.
individualism. To spread across a message that we are still creative, imaginative and unique,’ sums up Vidhi.
In her struggle to find the perfect career, between being a chef and doing a Master’s degree in Business Management;
The upcoming collection has priest pulled out from her
she didn’t give up her sketchbook and palette of colors.
sketchbook. ‘It is a direct translation of the scribbles and
‘My journey has been an amalgamation of a lot of things,
scrawls onto tangible products. You don’t have to be able
mainly because of how indecisive I am at times. I would
to draw perfectly to be creative. Even a broken brush
step forward to explore whatever I could think of, only
stroke has its own beauty. The next collection celebrates
to realize one thing: my inability to stay away from my
the beauty of imperfections.’ For The Ink Bucket, 2016
sketchbooks. It was then, after a lot of bizarre decisions,
is all about extending into home and lifestyle products,
that I convinced myself to take my love for drawing and
cutlery and stationery. Work on a website is also
illustration to the next level and started conceptualizing
underway. Bringing the old-world charm to the new
The Ink Bucket’, says Vidhi. A unisex accessories brand
world of design, TIB reasserts their focus on reinventing,
TIB weaves together an old-world charm with the clean
experimenting, growing, taking risks, braking rules,
aesthetics of modern design. The handbags, backpacks,
making mistakes and most importantly, having fun.
totes and laptop sleeves come alive with flexible, creative,
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‘My journey has been an amalgamation of a lot of things, mainly because of how indecisive I am at times. I would step forward to explore whatever I could think of, only to realize one thing: my inability to stay away from my sketchbooks. It was then, after a lot of bizarre decisions, that I convinced myself to take my love for drawing and illustration to the next level and started conceptualizing The Ink Bucket’, says Vidhi.
‘Today’s generation is growing up in a paperless world. A world where Hallmark stores barely exist because people now send e-invites and e-cards. The ink bucket is an attempt to bring back the traditional tools and create products capable of bringing a smile to your face.
BIAS A piece on a fresh fashion label that’s rediscovering minimalism with a retro twist
N 24 BIAS is an amalgamation of the aesthetics of art and the
design language. ‘At BIAS we break predictability. We are
functionality of design, which blends into progressive
inspired by everything we are proud of: be it our Indian
garments that catalyze individuality. Born with an
roots, homegrown fabrics, or art and crafts evolving
intention of encouraging self-express in fashion, it is an
through time,’ says Mridu. Their transitional, fuss-free
unshackled vision of two feminists. The brainchild of
and clean designs are deeply rooted in sustainable values
Mridu Mehra and Shruti Bhardwaj, both Postgraduates
and thinking.
in design, the label was launched towards the end of 2014. ‘We align radical ideas, elements, events, countercultures
With a steady start in 2014, the brand has been growing
and paradoxes to carry out art-based coveted styles.
organically. Inspired by Indian textiles and crafts, their
We are eclectic dreamers on a never-ending trip to
first collection explored hand-dyed and block printed
self discovery. We are spectators of life, consuming
jute and linen ensembles. Plaids, checks and ikats made
and sharing the many stories it has to tell, through our
an appearance in their second capsule collection. ‘We are
meticulously crafted designs,’ says the duo.
instinctive towards raw, unbound beauty, with nature being a constant source of inspiration. Each collection
Anti-figurative silhouette—that are influenced by a
is an expression of moods, stories, time, cultures and
strong penchant for minimalism—forms the base of their
subcultures,’ says Mridu.
[113]
BIAS is an amalgamation of the aesthetics of art and the functionality of design, which blends into progressive garments that catalyze individuality. Born with an intention of encouraging selfexpress in fashion, it is an unshackled vision of two feminists.
Anti-figurative silhouette—that are influenced by a strong penchant for minimalism— forms the base of their design language. ‘At BIAS we break predictability. We are inspired by everything we are proud of: be it our Indian roots, homegrown fabrics, or art and crafts evolving through time,’ says Mridu.
articles webzine print [117]
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KAVERI GOPALAKRISHNAN Illustrator
TRAVELING LIKE A GYPSY AND THREADING STORIES ALL ALONG, KAVERI GOPALAKRISHNAN IS A GRADUATE IN ANIMATION FILM DESIGN FROM NID. AFTER A BRIED STINT AT CHUMBAK, SHE NOW WORKS AS A FREELANCE ARTIST AND HAS A COMPELLING BODY OF WORK.
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N 25 Travelling from a very tender age, Kaveri concocted mystical tales of forests and animals, finding comfort in her imagination. With a penchant for art since her childhood, she found her muse in the books she read, which heavily influenced her work. “Ever since I could pick up a crayon, I drew on everything and would spend hours in making up elaborate stories and scenes, a habit that still persists. It was never just drawing for the sake of drawing. I love making up and layering my own private worlds and sharing a part of that with other people,” she explained.
especially color and feel, and work on translating this into my comics and illustrations,” says Kaveri.
Studying Animation at National Institute of Design further whetted her skills, and introduced her to the subtle tricks of the trade. It taught her how to capture gesture and movement, and the process of breaking down a story into frames, akin to films, while making comics and graphic novels.
She contributed a story titled ‘Basic Space’ to Drawing the Line, an all-women graphic anthology published by Zubaan books. In this collection of fourteen graphic art stories, the contributing artists shared personal stories and discussed their dreams and narratives of reclaiming control over their bodies, space and lives. In a commissioned project by The Hindu called ‘Before you step out’, Kaveri explored our understanding of security with urban versus semi rural spaces, which was distributed at the 2015 Jaipur Literature Festival. Alongside, she worked on several editorial illustrations for publications like Brainwave and UnMagazine by Campus Diaries. A set of Ruskin Bond and Panchatantra book covers also carry her riveting illustrations.
Over the years, she has developed a compelling oeuvre of graphic work, with an idiosyncratic fluidity. “I keep in mind the concept of Synesthesia while drawing, something I’ve been reading abut in recent years and can relate to. It’s explained as ‘the uniting of the senses, where one translates experience into a psychological reaction, comprehending color as sensation.’ I see things in different temperatures and densities,
After a stint at Chumbak as the lead designer, Kaveri found her true calling: freelance. As it was something she had always intended to do, the move was very organic. Following a residency at the School of Visual Arts in New York, she started working extensively on graphic stories. “I shifted largely to making graphic narratives because I wanted to write and work with storytelling beyond a single image,” explains Kaveri.
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Coming up is a non-fiction graphic story, based on the 377 Amendment in India, which was born out of a collaboration between Kaveri and writer-filmmaker Aarthi Parthasarthy. But an extensive collection of digital work has only made her rediscover her love for the traditional. “Today, I’m highly comfortable as a illustrator working digitally. However, the more comics I seem to be making, the more I enjoy painting live, and this seems to be the perfect kind of balance,” says Kaveri, who recently completed a 25 foot long mural under 7 hours, with a fellow artist.
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Studying Animation at National Institute of Design further whetted her skills, and introduced her to the subtle tricks of the trade. It taught her how to capture gesture and movement, and the process of breaking down a story into frames, akin to films, while making comics and graphic novels.
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AAKRITI KUMAR Product Designer
WITH A BFA FROM PARSONS PRODUCT DESIGNER AAKRITI KUMAR LAUNCHED HER DESIGN ATELIER, DIFFERNITURE IN 2014. SHE CREATES BESPOKE FURNITURE WITH UNUSUAL FORMS OF SCULPTURAL DESIGN WITH A FUNCTIONAL VALUE.
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N 26 Growing up in a family with a taste for the creative, inspiration was never hard to come by for Aakriti Kumar. Her mother, who is a fashion designer by profession and a painter by passion, kindled her fondness for art and sculpture. Aware of the importance of art and design since her childhood, the ideology filtered into her decision to choose design as her career.
Differniture - a furniture design atelier, in 2014. Based in Gurgaon, her studio takes a different view on furniture, aiming to create avant garde, alternative designs. It is a space where the functionality of design and the aesthetics of art break even. Finding her muse in the fluidity, curves and layers of nature, she translates inspirations from waterfalls, topographies and ripples into her creations.
With a design lexicon sharpened by a BFA from Parsons, Aakriti gravitated towards product design. “I loved the transformation of a piece that had started out
The brand ethos is heavily driven by sustainable values, with products being carved from reclaimed pinewood used for packaging in crates shipped with
as a scribble and turned into something real. Being a hands on creative, I knew that I would start something related to woodworking,” says Aakriti.
automobile parts from Asia, and logs from salvaged trees that are cut down in residential areas. “Using these ‘rejected’ materials and creating something new with them is a truly rewarding experience. The imperfections in previously used wood adds to the dynamism of its new life,” says the 25-year-old entrepreneur.
It was a project during her BFA - with a brief to build a solar powered, sustainable house - that sparked her interest in sustainable values and thinking. “Creating furniture for this house, with a sustainable zero waste method got me thinking about the importance of a ‘cradle to cradle’ design process, rather than a ‘cradle to grave’ one, and how I could incorporate this ideology into my own design process. With a trans-atlantic shift back to her homeland, Aakriti channeled her passion for sustainability and founded
Working on zero waste design, most of their pieces expend all the material allowed to them, while others are created purely from what’s left over by previous projects. The finishing processes are as important as the sustainable production system. “Creating a zero waste product and then pouring shiny liquid plastic over it defeats the purpose of an environmentally [127]
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conscious design completely,” explains Aakriti. With a keen eye for detail, she opts for the Japanese technique of preserving wood: Shui Sugi Ban. This technique burns the top layer of the wood, making it fireproof, waterproof and prevents mold and mildew, along with being environmentally conscious. February 2016 marked big milestones for the studio, as they participated in India Design ID and launched The Differniture Studio. As the studio grows, Aakriti plants a tree for every product she sells. “Something that goes back into nature, for what I’ve extracted,” she says.
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With a keen eye for detail, she opts for the Japanese technique of preserving wood: Shui Sugi Ban. This technique burns the top layer of the wood, making it fireproof, waterproof and prevents mold and mildew, along with being environmentally conscious.
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pepe heykoop & laurien meuter Changemaker
LAURIEN MEUTER FOUNDED THE TINY MIRACLES FOUNDATION IN 2010, TO HELP ALLEVIATE THE LIVES OF THE PARDESHI COMMUNITY IN MUMBAI. ALONG WITH DESIGNER PEPE HEYKOOP SHE IS CREATING CHANGE THAT LASTS.
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N 27 Nestled in a corner of Foras Road in the bustling city of Mumbai - home to more than 20 million people - lives a community of 700 people, called the Pardeshi. Three generations ago, they migrated from Uttar Pradesh hoping to find work, but life was not too kind. Mumbai had no need of their traditional cane for skills, thus pushing them below the poverty line. Foras Road, synonymous to the Red Light District of the city, is one of the highest risk areas, especially for young girls. With a fervent urge to help alleviate the situation, Laurien Meuter - a Dutch bank employee who happened to be working temporarily in India founded the Tiny Miracles Foundation in 2010. Born out of a passion to protect the young girls of the community and promise them a better future, the foundation educates the parents of the importance of sending children to school, and helps send the children of the community to better schools. But besides providing education and healthcare, Laurien had one more blockade to tackle: employment. She reached out to her cousin, Dutch designer Pepe Heykoop, who designed custom products which could be produced by the Pardeshi women, creating employment. “From a design perspective, we have
always strongly believed that that consumers should buy our products first because they like the design, secondly because of the story. In our opinion, that is the most sustainable way of creating many, many jobs,” says Laurien Meuter. After two and a half years of trial and error, the campaign finally kicked off when Pepe created a paper vase that can be folded flat to ship in an envelope. Sewn in a geometric pattern, the paper form can be adjusted to cover a bottle, making an instant vase. The construction is easy, but time intensive - something that the women can pick up after a brief training and it leaves them with plenty of work. It’s sold relatively inexpensively at retail, so the sales are impressive. The paper vase cover won the Interior Innovation Award at the international furnishing show, IMM Cologne 2013. Since its launch, sales have skyrocketed to around 100 pieces a day, providing full time employment for 90 women. The women also produce flat packed lampshades made of coated paper. When popped out, a certain tension in the paper creates and hold the shade. The foundation has set a goal for 2020, to provide 150 families with a wage of fifteen euros (Rs. 1100) [133]
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a day - the UNICEF standard for a middle class wage - in return for their production skills. Pepe plans to train the families to manage the distribution themselves, so the process becomes contained within the community, after the program finishes in four years. Among other things, the duo are planning collaborations with other Dutch designers. “We can make the world a better place,” Laurien writes on the foundation’s website. “How? By just simply rolling up our sleeves and doing it.”
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After two and a half years of trial and error, the campaign finally kicked off when Pepe created a paper vase that can be folded flat to ship in an envelope. Sewn in a geometric pattern, the paper form can be adjusted to cover a bottle, making an instant vase. The construction is easy, but time intensive - something that the women can pick up after a brief training and it leaves them with plenty of work.
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TWIST IN THE TALE Three restaurants that are reinterpreting the Indian cuisine with global influences
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N 28 NRI Mumbai
Anatares Goa
Tucked into a corner at BKC is Michelin starred chef Atul
At Antares, Australian Masterchef finalist Sarah Todd
Kochhar’s newest restaurant, dubbed Not Really Indian.
brings together a delectable fusion of Australian and
At NRI, the internationally celebrated chef whips up
Indian cuisine. Collaborating with India’s most ethical
‘diaspora cuisine’, in which he reinterprets dishes that
and sustainable growers of organic produce, Sarah’s
Indians took with them when they migrated to faraway
vision is to deliver contemporary, inspiring dishes from
lands. In time, the communities on foreign shores created
Australia with an Asian twist. Nestled on the sandy shores
their versions of these Indian dishes using local produce
of Vagator, this alfresco restaurant is also accompanied
and techniques. When Muslims from Tamil Nadu moved
by 13 wooden cottages, an infinity pool and an Australian
to Malaysia, they gave birth to their own unique cuisine
resort wear boutique. ‘The food is young and fresh, with
called ‘Mamak’. Inspired by the same, Kochhar brings The
an Asian twist to it, especially the spices. My favourite
Mamak Lamb chops - meat marinated in a soy-lemon-
is the charcoal grill section that rustles up lots of
tomato marinade. Bunny Chow, a hollowed-out white
vegetarian and meat grills,’ chimes Sarah. The menu
loaf filled with mutton curry was born in Durban in the
is an assortment of small and large plates. Her lobster
1930s, but is of Indian descent. The Tandoori Jerk Spiced
linguini is a sensation: with the freshest of lobsters,
Chicken Salad, Caramelised Mango Choux and Phaldaari
perfectly cooked pasta amped with zesty flavours. Her
Chaat are other stunner from the menu. Kochhar’s
love for the Indian cuisine shines beautifully as she plates
extensive travel around the world helped shape his vision
up the mushroom rillete with papad and pork belly with
for the restaurant. ‘I wanted my food to be intriguing. So,
kokum. The Alfonso mango kulfi and Australian pavlova
rather than cooking Indian food for Indians, I thought of
promises sheer indulgence for those with a sweet tooth.
celebrating food from the diaspora,” he says.
Antares is a slice of Australia in India, that brings you the best of both worlds.
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The Tiffin Club New York The Tiffin Club is a dinner series in Brooklyn that whips up regional food from India, for those who are far away from Indian shores. The brainchild of Rohan Kamicheril and his partner Mike Jesson, the supper club is best described as a ‘showcase for regional Indian food - with an occasional detour.’ Kamicheril grew up in Bangalore, and his south Indian descent heavily influences the dinner, that is hosted almost monthly at the couples’s Cobble Hill apartment. In the five course meal, Kamicheril brings together seemingly disparate dishes. Rasam with daikon cappellacci, fried idli on a bed of sliced grapes and cilantro chutney, khichdi with charred carrots and a blistered egg are all singular celebrations of a beautiful marriage of variant cuisines. Warm brussel sprouts and a persimmoncucumber-mango chaat adds indulgent details to the meal which is polished off with a green mango tart. With a taste for perfection, Kamicheril adds a spin to Indian cuisine that you can’t help but fall for. ‘In New York, we try to make things that don’t necessarily taste authentic,’ he says, ‘but they taste delicious.’
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Tucked into a corner at BKC is Michelin starred chef Atul Kochhar’s newest restaurant, dubbed Not Really Indian. At NRI, the internationally celebrated chef whips up ‘diaspora cuisine’, in which he reinterprets dishes that Indians took with them when they migrated to faraway lands. -nri
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JASJYOT SINGH HANS Illustrator
Jasjyot Singh Hans’s Tumblr page comes alive in candy pop hues and his captivating GIFs ooze an almost hypnotizing quality. FOLLOWING A DEGREE FROM NID HE IS PRESENTLY PURSUING AN MFA IN ILLUSTRATION AT MARYLAND INSTITUTE COLLEGE OF ART. Marrying his love for art and his penchant for fashion, his illustrations explore nuances of the fashion industry, its perception of beauty and body image.
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N 29 Jasjyot Singh Hans’s Tumblr page comes alive in candy pop
so much over the past few years and its definitely changed
hues and his captivating GIFs ooze an almost hypnotizing
the way I see myself for the better. But that’s been a feeling
quality. Marrying his love for art and his penchant for
I can never shake, it stays. I draw what I associate with. I
fashion, his illustrations explore nuances of the fashion
draw the characters I do, not because its a character that
industry, its perception of beauty and body image. Jasjyot
seems interesting to me, but because it is me,’ he says.
can trace his love or drawing right back to is childhood. ‘I have lived i a close knit joint family since childhood. In
Following a degree from National Institute of Design, he
that little space filled with tonnes of love and even more
is presently pursuing an MFA in Illustration at Maryland
flying tempers, my sketchbook was a way for me to create
Institute College of Art. Over the years, he has contributed
worlds of wonder. I don’t think I would have been able to
to Sabyasachi Couture, Vogue, Elle, Manta Ray Comics,
pursue art and design without my parents’ support. Right
Penguin Books and has spent a season as a print engineer
from not throwing away a single sketchbook of mine, to
with Manish Arora. Recently he releases an artwork titled
keeping their cool when they saw sketches of girls clad in
‘I am Bold’ for a playlist curated by Shruti Hassan - in a
bikinis at the back of my notebooks, my parents have been
collaboration between Kulture Shop and Apple Music -
instrumental in my choice of profession. My mother says
in which a woman clad in a spree and a leather bomber
the first thing she remembers me drawing was the side
became his muse. His women who come alive in the leafing
profile of a woman,’ says Jasjyot.
pages of his sketchbook and delicate paper doilies hint at the themes of nostalgia, self love, body positivity, erotica,
Dark, intense and beautiful, his women tell a story of their
beauty and fashion that make securing appearances in his
own. Full bodied and olive-skinned, they redefine the
body of work. Each of his illustrations add up to a larger
ideals of beauty and the preset ideas of body image. ‘I love
cause, and reinforces that there is beauty in multiplicity.
drawing big women; women with marks on their body
‘I think its important to have an alternative voice so
and oil-socked hair. It’s about staying true to what I have
people don’t have to give in to the predominant ideas of
seen around me, and taking from it what seems beautiful
what fashion and beaut is. My work is a more inclusive
to me and putting it out through my work. I think a lot of
view on fashion and body image; it is a celebration of the
what I draw springs from my own body image. I’ve aways
everyday, and seeing beauty in diversity,’ he says.
felt a very strong sense of failure personally. I’ve changed [143]
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Dark, intense and beautiful, his women tell a story of their own. Full bodied and olive-skinned, they redefine the ideals of beauty and the preset ideas of body image. ‘I love drawing big women; women with marks on their body and oil-socked hair. It’s about staying true to what I have seen around me, and taking from it what seems beautiful to me and putting it out through my work.
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His women who come alive in the leafing pages of his sketchbook and delicate paper doilies hint at the themes of nostalgia, self love, body positivity, erotica, beauty and fashion that make securing appearances in his body of work.
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QUENCH Fashion label
WANTING TO MOVE AWAY FROM THE EXCESS AND THE GLITZ THAT IS SYNONYMOUS TO THE INDIAN FASHION SPACE, PUJA SINGH NADHANI FOUND HER VOICE WITH QUENCH. FOUNDED IN 2015, THE LABEL’S DESIGNS ARE DISTINCT IN THEIR MINIMAL PURSUIT OF ELEGANCE, AVOIDING THE SUPERFLUITY OF OPULENT CLUTTER.
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N 30 Wanting to move away from the excess and the glitz that is synonymous to the Indian fashion space, Puja Singh Nathan found her voice with Quench. Founded in 2015, the label’s designs are distinct in their minimal pursuit of elegance, avoiding the superfluity of opulent clutter. ‘My eternal muse at Quench is the thinking woman. The undettered, a little whimsical and confident woman. Complete in her confidence, she’s not easily deterred by the things around her, yet remains sensitive towards everything. The Quench woman is not coy and is unapologetically achieving,’ she says. Soon after Puja ventured into modeling, she realized that she’s more at ease on the other side of the lens, toiling away to put together the ensembles than donning them. Following a major in English, she took up a master degree in Fashion Technology. Even before she wrapped up her course, Puja landed a job with the design maestro Sabyasachi Mukherji. The
Sabyasachi was a huge learning curve and I consider him my true and only mentor. I have a doubt about something, I would still got o him for his two cents,’ she says. For her debut collection titled Grey Matter, Puja found inspiration from the underground subway stations all around the world., translating them into sleek, achromatic silhouettes. Juxtaposing smooth cotton with sheer mesh, or polka-dots with ikat prints, the collection is all about bringing together seemingly disparate fabrics and textures in a play of contrasts. ‘The Subways and Undergrounds of the world have their own story to tell; where the light from the coming and going of trains weave intricate textures and patterns on the black canvas of its darkness. A stark contrast to the loud boisterous surface screaming for attention, the Underground tells the story of an absolute balance of light and dark, noise and calm; of a minimal yet striking beauty. Inspired by the lights,
30 year old entrepreneur divulges that her stint with the celebrated designer was one of the best things to every happen to her, and was her first stepping stone towards Quench. Working with the fashion house and handling the details of production fashion shoots and advertisement campaigns helped Puja chisel her skills as a designer and brand strategist. ‘Everyday with
patterns and textures of the Underground, Grey Matter is an ode to the Quench woman, though a balance of extremes, in all hues of black and white,’ says Puja, about her inspiration. Replete with palazzos, skirts, trousers, shirts and dresses, the collection stands out for its clever use of neutrals, which while deliberately muted, exudes a classy look that never fails to make [147]
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heads turn. Following soon is her second collection, The Abandoned Garden. It explores florals alongside stripes and solids on breezy, ethically sourced cotton, linen and satin. Taking forth Quench’s design philosophy of ‘Less is More’, this collection would see a dialogue of pop summer colors along with unpretentious, easy silhouettes. ‘This year is all about having fun, making mistakes and learning from them,’ says Puja.
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For her debut collection titled Grey Matter, Puja found inspiration from the underground subway stations all around the world, translating them into sleek, achromatic silhouettes. Juxtaposing smooth cotton with sheer mesh, or polkadots with ikat prints, the collection is all about bringing together seemingly disparate fabrics and textures in a play of contrasts.
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NIKHIL PAUL Product Designer
SINCE 2010, PRODUCT DESIGNER NIKHIL PAUL HAS BEEN EXPLORING HIS LOVE FOR DESIGN WITH ALL THINGS SIMPLE, GEOMTRIC AND HANDCRAFTED. BASED OUT OF NEW DELHI, HE HAS NOW TAKEN HIS FASCINATION FOR LIGHTS TO A WHOLE NEW LEVEL WITH THE DEBUT OF HIS TANGO RANGE FOR HIS NEW LIGHTING STUDIO AND ATELIER PAUL MATTER.
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N 31 When Nikhil Paul moved into a new studio space in Delhi, he couldn’t find the sort of utilitarian yet elegant lighting that he had in mind. When his search for lighting solutions that combined aged materials but still remained contemporary and minimal went in vain, he decided to try his hand at it. After a series of experiments, he came up with his debut range of fighting sculptures and turned the studio into his new lighting atelier, Paul Matter. ‘ Founded in 2016, our studio’s original and custom lamps for residential and commercial settings takes cue from mid-denture Modernism, the Industrial Age and my own minimal aesthetic. The pieces draw from a luxe material palette that includes age brass, copper, stone, leather and mouth blown glass,’ says Nikhil. While in Italy, working with Giulio Ceppi, Total Tool, Alessi, Truism di snd Italia and introduced him to the nuances of product design. When he realized his need to understand the aspects of business in design, he decided to pursue Business and design Strategy at Domus Academy. ‘Domus exposed me to the Madein-Italy model - the business model of some of the most iconic Italian brands that make things to order. Being able to design products while side-stepping the element of mass-production is essential to their brand
strategies,’ says Nikhil. Perhaps this understanding is what piqued his interest in all things simple, artisanal and handcrafted. Each piece form his debut collection Tango was put together by hand with painstaking attention to detail and finesse. Nikhil’s penchant for minimalism and geometry shines through this range of illuminators that sports low hung lights in brass and glass, along with an innovative candle stand called Satellite. The lights come in two versions - buff brass and etched glass - with articulating elbows and adjustable arms that are completely customizable so they can be arranged in a cluster to form bespoke chandeliers. The candle holder with a metal sphere is like nothing you’ve ever seen before. While speaking of his inspiration, Nikhil adds, ‘For the lamps we were looking at geometric forms, sculptures floating in space. That’s what satellites are - a sculptural object when light isn’t present, and its function begins with its transformation towards delivering light.’ The brass shades are hand-beaten and patinated, which when put together emits ‘soft pools of light.’ The effortlessly sleek series with its low-hanging sculptures drew its name from Tango, a Latin ballroom dance that’s characterized by ‘marked rhythms, postures and abrupt pauses.’ ‘Our design [151]
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process is reductive and iterative. We go through process of subtraction until we capture the essence of what is left as we take away the excess and purify the product into what it becomes. We believe in the longevity of the design, not only interns of the material, but also the visual language. The design needs to survive time. The materials from our palette get better with time and use. They can be used in their truest form while revealing its layers Brass shows us beauty in its mirror like perfection when buffed and aged perfection when patinated,’ sums up Nikhil. Work is underway for the second series that is slated to release in the coming quarter. The upcoming collection see fresh materials like stone and leather, coupling them with elements of Indian crafts. For Nikhil, this is only the beginning as he ventures out to explore the unending possibilities that lie ahead for Paul Matter.
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Nikhil’s penchant for minimalism and geometry shines through this range of illuminators that sports low hung lights in brass and glass, along with an innovative candle stand called Satellite. The effortlessly sleek series with its low-hanging sculptures drew its name from Tango, a Latin ballroom dance that’s characterized by ‘marked rhythms, postures and abrupt pauses.’
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[EAT.LIVE.DRINK]
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BARS WITH A BANG This summer, we bring to you the freshest watering holes that are making a statement
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N 32 MasalaBar Mumbai
The Jugaad Bar Delhi
MasalaBar, Zorawar Kalra’s newest offering in Mumbai
The Jugaad Bar at Defense Colony makes sure that its
recreates a laboratory experience. The candle-lit-only
concept is graphically translated to its decor. From door
space uses locally sourced all-organic beeswax candles
handles made out of spoons joined together, chandeliers
as the bar whips up craft cocktails. ‘The stuff that we use
made out of recycled beer bottles and bicycle tires, to
to make our cocktails will be straight out of a lab. It’s
tiles and old vinyls being used as serving plates - this
a science lab and a bar. Every cocktail will come with
might just be the quirkiest place around town. A cafe
food that matches it,’ sums up Kalra. Each cocktail has
in the morning that doubles up as a bar in the evening,
a story to tell, and comes with a docket that tells you
the space transitions and shifts by the need of the
what the team was thinking when they created the drink.
hour. According to the owners Aryan Singh and Vani
Reminiscent of all things Indian, the cocktail lab conjures
Vats, there’s Jugaad for everyone out here! Move over
Bollywood Bhang - a vodka spiked Thandai accompanied
Screwdrivers and Cosmopolitans with their Sharabi
by a smoking pipe with fresh basil leaves - along with
Nariyal and Risky-Whisky. Aam panna and coconut with
Great Hornby’s Cloud, a whisky-based cocktail spiced
a splash of vodka comes together as Khatti-Mithi and
with smoked cinnamon. The skull and cannon ball glasses
Shikanji with vodka named Nimbu-Masala is definitely
surely add an innovative touch. Malabar Point features
a new idea. Add some munch to the sips with Baba ki
vodka and an apple camomile reduction finished with
Potli - fried mutton dumplings with tamarind sauce -
a thyme foam and a gin-based Mumbai Matinee adds
and their signature Poori Snacker with Mushroom that
playful fruity flavors. A tapas-style menu means only
serves a bite-size poori topped with a mushroom sabzi
small bites that brings together carbon bhaji and carbon
on a mini clay plate seated atop a corn husk. So the next
pao, crisp calamari rings with ponzu chill chutney and
time you think eclectic and Indian, think of The Jugaad
ghee roast scallops with beet mash and vadi grits. With
Bar.
a hand-crafted menu that beautifully marries drinks with the bites, Zorawar Kalra makes sure that his first bar is not one that you should easily forget. [155]
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Solomon & Kuff New York Harlem’s most notable mixologist Karl Franz opened up a Caribbean style bar in New York, after his successful venture with 67 Orange Street. A bar and ‘rum hall’ Solomon & Kuff boasts of over a 100 international rums spanning authentic Caribbean rums, Agricole rums, Cachacas and American rums along with artisanal cocktails and craft beers on tap. The name of the speakeasy nods to the bar’s principle spirit: an African slave named Venture Smith was purchased for four barrels of rums and years later bought freedom for himself and his two sons, Solomon and Kuff. A curated bar menu features seven hand-crafted cocktails by Karl Franz, most of which has a splash of the aged rums and their craft beers. Stunners from the bar menu are the Re-Fashioned that clubs Jamaica’s Appleton Estate Reserve rum with spiced apple bitters and S&K Darn-N-Stormy brings together dark rum and a Jamaican rum with house-made ginger beer infused with turmeric and Scotch bonnet pepper. Just when you think they are all about the drinks chef Christopher Faulkner whips up a shrimp and yam sauce with steamy yucca fries dipped in a green chili aoli and a fiery jerked Japanese eggplant with kabocha squash. Tapping into pan-Caribbean flavors, the small plates has headliners like cauliflower and sailfish fritters and fish and lemon crisps. If you’re in New York this month, head over to Solomon & Kuff for a slice of West Indies at the heart of West Harlem.
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MasalaBar, Zorawar Kalra’s newest offering in Mumbai recreates a laboratory experience. ‘The stuff that we use to make our cocktails will be straight out of a lab. It’s a science lab and a bar. Every cocktail will come with food that matches it,’ sums up Kalra. Each cocktail has a story to tell, and comes with a docket that tells you what the team was thinking when they created the drink. -masalabar
3 MONTHS 32 ARTICLES INSANE
AMOUNT OF MEMORIES
[159]