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At Dhi Artspace Hyderabad, an intersection of art and craft, from crochet to kalamkari


At Dhi Artspace in Hyderabad, the Crafting the Crossroad exhibition showcases how 5 up to date artists draw inspiration from conventional crafts

At Dhi Artspace in Hyderabad, the Crafting the Crossroad exhibition showcases how 5 up to date artists draw inspiration from conventional crafts

Artworks made utilizing bamboo, crochet, beads, hand-painted kalamkari and crochet greet guests at Dhi Artspace, Hyderabad. The exhibition, titled Crafting the Crossroad, is an try to use craft as high quality art. In the method, the 5 collaborating artists try to handle questions of id in addition to showcase the historical past and cultural context of the craft. Curated by Somedutta Mallik, the exhibition places the highlight on the work of artists Chathuri Nissansala, Shruti Mahajan, Mousumi Karmakar, Rajarshi Sengupta and Susanna Bauer.

In reminiscence of Easter bombings

Chathuri Nissansala, a multidisciplinary artist from Sri Lanka, pays homage to those that misplaced their lives within the suicide bombings that shook Colombo on Easter, 2019. Her collection is titled ‘When flesh fades away, all you are left with is the memory of them’. She makes use of damaged and dismantled idols collected from the bomb assault websites and harnesses beadwork and costume-making methods of southern Sri Lanka to create artworks that may begin a dialogue concerning the unrest and violence in her nation. Her analysis took her to the brand new memorials throughout the church buildings that had been attacked, the place she noticed salvaged supplies being displayed in reminiscence of the departed. The costumes she makes use of to gown up the idols and discovered objects is a dying craft native to the Matara coastal area of Sri Lanka. Chathuri apprenticed with Somapala Pothupitiya, who’s reportedly among the many final artisans from the Navandanne group who practices the method. Keen to perceive the custom of ritualistic costume-making, Chathuri additionally needed to create a brand new discourse through the use of it to invoke a way of therapeutic and hope.

Mousumi Karmakar draws inspiration from bamboo and palm fibre fishing cages of West Bengal

Mousumi Karmakar attracts inspiration from bamboo and palm fibre fishing cages of West Bengal
| Photo Credit: Special Arrangement

Mousumi Karmakar’s work attracts inspiration from the fishing group in West Bengal. The artist from Kolkata attracts viewers’ consideration to cages made of bamboo and palm tree fibre, which some of the fishing communities use. The cage with criss-cross grid patterns, when lowered into the water, traps the fish. Mousumi makes use of bamboo and palm fibres to construct architectural fashions in addition to small portraits of the craftwork. Having grown up watching her father, a carpenter, create totally different objects, she was inclined to study to make buildings and her art observe helped her create summary sculptural kinds.  

Not only a leaf

Susanna Bauer’s delicate crochet on a leaf

Susanna Bauer’s delicate crochet on a leaf
| Photo Credit: Special Arrangement

Susanna Bauer makes use of pure leaves and crochet to draw our consideration to the wonder and intricacies of the surroundings and the relationships we forge with the world. An in depth take a look at the lone leaf that’s framed and the fragile lace crochet work comes into view. The artist who hails from Germany and now works within the UK, in her assertion, reveals that handmade lace crochet on leaves is a laborious method, given the fragility of the floor materials — leaf. She makes use of high quality hooks, needles and threads to make patterns on leaves. She additionally works with crochet to be a part of and reshape leaves and type branch-like buildings.  

Rajarshi Sengupta’s kalamkari artwork

Rajarshi Sengupta’s kalamkari art work
| Photo Credit: Special Arrangement

Hand-painted kalamkari turns into the medium via which Rajarshi Sengupta displays on early settlements round water our bodies, the life of craft communities and the commerce routes. A kalamkari art work in pure dyes displayed on a desk has a number of photographs that may be considered from totally different angles. Some of the imagery in his work replicate how the kalamkari artisans wash and dye the material, the landscapes and different particulars. During his visits to kalamkari craft clusters in Machilipatnam, he discovered photographs pertaining to the seventeenth and 18th century and South East Asian cultures, made acquainted to the artisans thanks to the commerce routes. Rajarshi’s work additionally acknowledges the utilitarian side of kalamkari within the type of cushion covers and baggage. Some of his works from the collection had been exhibited at Salar Jung Museum, Hyderabad, late final 12 months.

Warp and weft

Shruti Mahajan’s work inspired by the process of weaving

Shruti Mahajan’s work impressed by the method of weaving
| Photo Credit: Special Arrangement

Shruti Mahajan takes cues from the time she spent in Maheshwar, observing expert weavers course of the warp and weft for handwoven cloth. She makes use of the weaving observe however transforms a bit of material into a piece of art by incorporating methods of smocking and delicately taking part in up a wavy, patterned border that resembles lace work. Elsewhere, she attracts over butter paper with a ball pen to give gentle and shade patterns on the floor, representing night time and day, reworking it into a bit that may be a dialog starter on the methods concerned and on craft historical past. 

( Crafting the Crossroad is on view at Dhi ArtSpace, Hyderabad, until August 21)



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