Artists Mayuri Chari and Ranbir Kaleka are renowned for their thought-provoking and visually compelling art on textiles. Chari’s piece, “My Body, My Freedom,” delves into intimate conversations with her own body through thread embroidery on cloth, while Kaleka’s piece, “Guardians in a Dystopic Garden,” uses cotton and silk thread technique to challenge the divine order of the ‘Arcadian Garden’ in the face of human conquest and control.
Despite their disparate styles, both artists share a common objective of creating captivating art through textiles. They utilize various techniques such as aari, zardozi, satin stitch, phulkari, Kutch embroidery, and French knots on handwoven silk, organza, khadi, jute, and linen to preserve and revive the art of textiles.
According to Gayatri Khanna, the founder of Mumbai-based embroidery atelier Milaaya, the fusion of art and textile not only elevates hand embroidery to an authentic art form but also underscores the skill and talent of Indian embroiderers and embroidery schools on a global level. Khanna’s recent exhibition, titled “Threaded Visions: Contemporary Embroidery for a Sustainable Future,” curated by Mumbai-based art curator Arshiya Lokhandwala in collaboration with Delhi-based art collector Shalini Passi, showcased the transformation of hand embroidery into museum-worthy pieces of art.
Art curator Lokhandwala meticulously selected works by iconic masters and contemporary artists, including Ranbir Kaleka, to address issues such as sustainability and climate change through hand-embroidered masterpieces. Each piece reflects an exploration of environmental concerns and advocates for sustainable practices such as recycling, the use of renewable fuels, water conservation, and the preservation of biodiversity.
Moreover, Chari uses her art to express the illusions connected with the female body, re-appropriating the Portuguese legacy of trousseau stitching and adopting a language of feminist dissent. She engages with rural women labourers to explore stories of labour camps and draw attention to their living conditions and struggles.
In addition, Shalini Passi underscores the significance of slow fashion and the conservation of craft as strong pillars of sustainability. She believes that the intricate pieces not only showcase the richness of embroidery as an art form but also celebrate the diverse traditions and skills of India.
The Chanakya School of Craft in Mumbai, under the leadership of Karishma Swali, has also made significant strides in celebrating art and craftsmanship through collaborations with international artists. Their collaboration with French-Cameroonian painter Barthelemy Toguo and French artist Eva Jospin has resulted in large-scale handcrafted works using various needlepoint techniques on handwoven silk, organza, khadi, jute, and linen. This collaboration highlights the importance of celebrating communities and their material cultures while conveying traditional heritage and collective identities.
The school’s specialization in embroidery and crafts has adorned international haute couture, and its collaboration with French artist Eva Jospin led to unique drawings depicting landscapes using contemporary versions of traditional hand embroidery techniques. Over 150 variations of different embroidery techniques and over 400 shades of organic silk, linen, cotton, and jute threads were used to bring these landscapes to life in great depth and detail.
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