The Poetics of Fragility is a transmedia, bilingual exploration of the texture, vitality and aesthetics of fragility by Nicolàs Grandi and Lata Mani.
The artist book reimagines the script and project as a tactile experience in print duration within a broader canvas of process notes, critical essays and artistic responses. Drawing broadly on gestalt design principles it works with experimental typography, digital collages and stills from the film to create an interactive visual, conceptual and sensory print experience.
A three part non-fiction illustrated series based on the home as a microcosm of human existence in order to experience the lives of Tibetan refugees living in Bylakuppe, India.
Portraits of Exile (Homecoming, Homebound and Homeland) not only looks at the documentation of a journey, but also allows us to question the idea of a home - what it means to build a home in a space that one sees as temporary, how we choose to remember a space that is no longer physically present, and how memory plays a role in making the temporary permanent.
The books themselves are multilayered, and follow the format of a home that was, a home that is and a home that will be. It uses translucent sheets of paper as a means to document intangible memories and stories that interact with regular sheets of paper, which represent physical realities. The book also has an interactive element in the houses that can be cut out and built at every check point in the story.
This entire project would not be possible without the love and support of all the wonderful people of Bylakuppe, who let us into their homes and hearts and allowed us to share their stories in order to navigate larger social, political and cultural systems to evolve stories with new perspectives.
Working with film maker Nicolás Grandi, and cultural critic Lata Mani to convert their ensemble video contemplation, De Sidere 7 into an video book that presents the film in print format. This book works to integrate the multi layered format of the film in a more physical way though the use of varying page sizes and types of paper. The book itself presents the reader with a different perspective of the film, and allows room for self interpretation between the layers to reinforce and form new meaning.
With the idea to explore collective memory in places that have seen conflict, a group of us decided to visit Preetnagar, a village in Punjab along the border between India & Pakistan. Here we discussed the 1984 Sikh riots and the consequence of violence on a personal level with the people who witnessed it first hand in Punjab.
The aim of this video instillation, originally projected on three walls, was to document acceptance, absence and faith - that such events manage to shake, while also documenting how memory sustains the relationship of self to the surrounding, over time. The film, worked on by Anukriti Kedia, Janvi Karwal, Koyal Raheja, Siddhanth Shetty and myself, looks to view large scale social/political movement though a micro lens of three personal stories.
Supporting artwork was done during and after interviews, as a means to capture a moment in time, as well as the essence of the stories.
A community based instillation, which was conducted as a workshop for the residents inhabiting a space of conflict in Halasuru, Bangalore. The conflict was based in the discovery of a square kalyani (stepped tank) on the premises of the 800 year old Chola period monument, the Someshwara temple in Halasuru. The discovery of the kalyani lead to the destruction of homes and shops in the area as the temple been declared a heritage site - this directly affected the lives of the people who lived in and around the area, as well as their livelihoods.
As a means of healing or facilitating conversation we (Anukriti Kedia, Kamini Rao, and myself) looked at creating a platform that enabled communication between members of a community. We did this through the medium of workshops conducted on site, where people could come together, make and paint paper mache masks as a collective experience, in order to talk and resolve their issues, and reestablish a sense of security and understanding. The masks represented each person as integral parts of a community, and were collectively placed in a cocoon to symbolise rebirth or starting afresh.
As part of Memory Lab, a project that looks to document personal stories in relation to a collective social/political/cultural experience - I delved into my own personal history and connection with the partition of India and Pakistan. My grandparents crossed the border in 1947 along with countless others to come to their new home in India, leaving behind everything they had to start afresh.
As a child I had this strange perception that Pakistan was literally on the moon, and as an adult I wanted to combat that perception. With the help of people who lived through the partition, I was able to recreate a Pakistan for myself though the five senses of smell, taste, touch, sound and sight. Collecting stories, and bridging gaps in my own perception along the way, this project was a journey to uncover and discover my heritage.
This project was a self initiated illustration series that was featured on my instagram account. The premise of this project was to look to my daily life as a source of inspiration, and was intended as a means to propel me to create more on an everyday basis. Through this project I was able to explore various themes in terms of what defined a day for me, as well as various illustration styles while exploring image in an everyday context. Further, this project enabled me to really challenge myself in terms of producing interesting content everyday that was not only stimulating for myself but others as well.
Packaging for a soap bar - Jhakaas. The idea behind this was to create packaging that is reflective of the product, which is all organic with nothing to hide. The packaging imitates this in the sense that all the ingredients are listed out, along with their function to create a more contentious and aware consumer.
A project that delves into the world of modern and classic type, in order to express all the particulars and make comparisons between two specific typefaces, FF Din and Baskerville. The form of this booklet was derived from the fact that there was a comparison being made, so on one side we had Baskerville and on the other FF Din, this allowed for both the typefaces to be expressed individually, while at the same time allows for the viewer to draw comparisons and differences between the two.
The admission flyer designed by Anukriti Kedia and myself for Srishti School of Art, Design and Technology works as a flyer that provides information about the courses offered at Srishti but also doubles up as a poster of students work at the back. The design is unique and cost effective as it utilises only a single A3 sheet of paper, with a single cut in the middle, folded in a specific way to provide this duality in function.
A culmination of still life, nature study, buildings and monuments. This documents the fruits of labour, and observation of human form and body. Looking at perception, depth in image, attention to detail, colour and contrast while also exploring various mediums and styles of production - Pen, pencil, linocut, paint, colour pencils, and water colour.