An art installation at Majha House Syal Festival 2018 / Amritsar
a WING LESS creature caged in barbed wire looking at boundaries we break and borders we create. Title ‘WING LESS’ is inspired from Paro Anand’s book WING LESS.
The festival looked at Borders and Boundaries and at Border Crossings with a special emphasis on the Northeast and Bengal, to make connections and to take a look at our shared histories. The Borders discussed in the sessions looked at physical borders and crossings like the one in 1947 with the Partition of the Indian subcontinent, which destroyed a centuries old composite culture and led to unprecedented violence and destruction. A bloodletting and a migration unlike any seen before. This huge movement of people crossing borders in Punjab and Bengal is something that has remained writ large on our psyche and character.
The other Borders that writers talked about are those in our minds, the rifts and fractures, the divisions we have created or inherited: divisions of class, caste, gender, language, sexuality and so on. Many of these we see play out in acrimonious debates in the media everyday—even languages now have a religion! We have divided artists and litterateurs, craftspeople and film-people and shut them up, shut them in, categorized them.
_a review note by Preeti Gill (Director, Majha House Festival)
Inaugurated by Paro Anand, the wingless creature was given wings by people at festival & wonderful messages of peace and harmony and of creating a borderless world were added to it as the two day long festival progressed.
Giving Wings to the WingLess:
Reflections of people at MH Festival on the following questions:
Q1. How do you look at borders?
Q2. How comfortable/uncomfortable are you within your boundaries?
Q3. Are there any boundaries you desire to break or cross, Why?
Q4. Are there any connections you aspire to build across borders and boundaries, How?
Windows of Desert Flowers
Wall Installation at GVCS, Badmer / Size : 12′ X 5′
Textile Art Works: Applique, Patch work, Embroidery, Weaving, Kantha work & Aari Zari by local women artisans of villages in Badmer, Rajasthan
a vernacular sculpted installation
October 5th -16th, 2017 / at Saras Mela, Ludhiana
Organized by District Administration, Ludhiana in association with NABARD at Punjab Agriculture University, Ludhiana.
a vernacular sculpted installation
March, 2016 / at village Jaipura, Ludhiana, Punjab
Published in: Emergent Art Space / Forum
Landmarks are an integral part of our stories, imaginations and memories. They appear in our conversation and description of folklores.
In India, many families who live in cities have roots in villages where their ancestors lived, going back to village is special to all those who relish the fragrance of mud, starry nights, farms, fresh air and simple rustic lives. People delight in sharing anecdotes and stories of their villages, their memorable landmarks, shops, streets and roundabout where their forefathers use to meet, play or spend evenings.
Landmarks belong to all; they belong to the whole community that grows around.
Though I grew up in cities, I feel deep belonging to villages of Punjab. I love to go back to villages, spend time in farms, walk in gullies (village streets), watch activities and assimilate those experiences through my art.
This project was an effort to create public activity space on rural land and to revive the vernacular craft culture of Punjab where an age old technique ‘Wattle and daub’ had been re-explored and some antique craft objects were used as an integral part of the installation.
The basic form of LANDMARK is inspired from a typical conical enclosures usually crafted by villagers in fields of Punjab called “Guhara” and “Kupp”. Guhara is basically used to store cow dung cake and Kupp is made up of dry wheat grass and is used to store the residues of crop.
Some old broken craft objects like “Charkha”(traditional spinning wheel), “Madhani” (traditional churn) & old earthen pots are used in the installation.
In villages the whole lifestyle is changing, due to the advancement in technology and adaptation of new machines, the handcrafted Charkha, Madhani and some other ethnic objects are no more in use, they are kept in stores. People do not use them, so to give them a new life, I used them as an integral part of installation. The purpose is to revive and conserve the value of traditional craft heritage. Rather putting them in dusty stores, its better to use them in some art form and create an exposure for new generations of village
I feel these kind of efforts in villages would help & inspire people (specially young kids) in future to connect with their tradition and explore many other aspects of their culture.
Size: Lower Dia: 7’ , Upper Dia 5’ / Height 9’
Materials & Medium: Bamboo, Wood, Jute Ropes and Bags, Mud, Husk, Cow dung, Peepal Leaves, Earthen Pots, Antique “Charkha”a traditional spinning wheel and “Madhani” a traditional churn.
Spatial Installation / Area : 60′ X 30′
29th-31st Aug, 2014 / at 3rd Chandigarh Cinema Festival,
Organized by 4C ‘Chandigarh Creative Cinema Circle’ at Govt. Museum Auditorium, Sec10, Chandigarh
- Cine Mandal is a symbolic installation reflecting a Star(Tara) Constellation(Mandal) where stars personified as ‘independent film makers’ & constellation as ‘gathering’ at film festival.
- Bamboos are lashed with jute ropes in star like frames and white fabric is used as a reminiscent of old Indian cinema screen.
- Crafted frames were arranged in an way to create throughout circulation and a lively entrance.
Wall Installation / Size : 5’-6″ X 3’
Wall Installation / Size : 9’ X 4’
Wall Installation / Size : 8’ X 4’
Wall Installation / Size : 10’ X 4’
Wall Installation / Size : 2’-6″ X 5’