Through this trajectory of learning to be … while making and doing… I have always been more attached to the effort of trying to meet the needs of the artist as a person. I have learned that the art can survive only as long as the artist does… and my life in art and design began by serving those vulnerable creative communities who were tenacious enough to withstand the colonial legacy of destruction followed by our own apathy and indifference towards homegrown talent.
I took a decision NOT to wear mill-made cloth more than 40 years ago. I do not miss it! Moreover, it makes me comfortable both physically and spiritually
I first set up Sarthi (Friends of artists in need), looking at basic issues of shelter, health, legal rights, old-age debilitation …show more content…
The magic of anonymous synchronicity in-group efforts - the tension of the unknown, the chance of accidental innovation, the empowerment of the vulnerable and the confidence building for the tentative - moved me beyond words.
One began to seek out collaborative co-creations and group catharsis by mixing ‘art’ and ‘craft’, ‘western’ with ‘eastern’, ‘urban’ with ‘rural’, ‘margi’ with ‘desi’, ‘classical’ with popular ‘Folk’ simply because all these existed within easy reach. Mixed ensembles with multimedia formats-became home fronts of core competencies as interdisciplinary activity turned intoxicating and all …show more content…
etc. No matrix can be disconnected or isolated from the other. One cannot pluck a flower without altering a star. “Everything connects” said Charles Eames. And India has its own Vishnu Dharmotra Puran to fall back on. This thousand years old text states…
To be a painter one must know sculpture
To be an architect one must know dance
Dance is possible only through music
And poetry, therefore, is essential
I conceived and curated numerous installations and displays combining various media as well as created and designed signature artworks installations and architectural spaces around India and different parts of the world, some of which include the VIP Lounge (Delhi International Airport), Shah House, Mumbai, Leela Kempinski, Gurgaon.
Through my belief ad practice tried to demolish the hierarchies between fine arts and crafts, creating a prototype of interior architecture and design demonstrating what can be achieved with the right patronage. Here, may I digress to explain the role of craftspeople in Architecture…
Should the anonymous and intimidated castes of charis, mosaris, santraj and vishwakarmas be forced to switch their professions or should our interior decorators, architects and public work contractors, ignoring indigenous talent reflect on their
I took a decision NOT to wear mill-made cloth more than 40 years ago. I do not miss it! Moreover, it makes me comfortable both physically and spiritually
I first set up Sarthi (Friends of artists in need), looking at basic issues of shelter, health, legal rights, old-age debilitation …show more content…
The magic of anonymous synchronicity in-group efforts - the tension of the unknown, the chance of accidental innovation, the empowerment of the vulnerable and the confidence building for the tentative - moved me beyond words.
One began to seek out collaborative co-creations and group catharsis by mixing ‘art’ and ‘craft’, ‘western’ with ‘eastern’, ‘urban’ with ‘rural’, ‘margi’ with ‘desi’, ‘classical’ with popular ‘Folk’ simply because all these existed within easy reach. Mixed ensembles with multimedia formats-became home fronts of core competencies as interdisciplinary activity turned intoxicating and all …show more content…
etc. No matrix can be disconnected or isolated from the other. One cannot pluck a flower without altering a star. “Everything connects” said Charles Eames. And India has its own Vishnu Dharmotra Puran to fall back on. This thousand years old text states…
To be a painter one must know sculpture
To be an architect one must know dance
Dance is possible only through music
And poetry, therefore, is essential
I conceived and curated numerous installations and displays combining various media as well as created and designed signature artworks installations and architectural spaces around India and different parts of the world, some of which include the VIP Lounge (Delhi International Airport), Shah House, Mumbai, Leela Kempinski, Gurgaon.
Through my belief ad practice tried to demolish the hierarchies between fine arts and crafts, creating a prototype of interior architecture and design demonstrating what can be achieved with the right patronage. Here, may I digress to explain the role of craftspeople in Architecture…
Should the anonymous and intimidated castes of charis, mosaris, santraj and vishwakarmas be forced to switch their professions or should our interior decorators, architects and public work contractors, ignoring indigenous talent reflect on their