“The concept is to take the dialog of textiles past apparel”: Lavina Baldota


Textual content and Images by Asad Sheikh.

Nakshatra, Fibre cowl, handwoven Indian wool with hand-knotting, abrash dyeing and hand-embroidery. Designed by Ashiesh Shah – Atelier with Jaipur Rugs. 

Sutr Santati: Then Now Subsequent, the exhibition that was showcased within the capital, offered the narrative of India by way of its textiles. Every one of many about-100 textiles on view, from numerous areas of the nation, displayed a plaque with a listing of names. These highlighted not solely the designers, textile artists and revivalists concerned within the creation of every of the works, but in addition, importantly, the artisans concerned — the embroiderers, weavers, dyers and printers.

The exhibition — that concluded in late October — proved that textile craftsmanship within the nation remains to be a vibrant entity. However, the best way we all know or see it does bend to the need of commerce. Traditionally, grander methods and supplies — than those on show at Sutr Santati — have been typically used to create one-of-a-kind items below the artwork of patronage. However in a globalised, and machine-powered market, these methods have develop into extra streamlined, typically to suit the alternatives of the consumers.

With commerce out of the equation, designers, artists and artisans, who participated within the exhibition, may extra freely discover present-day methods and develop newer kinds of textile manipulation to additional the thought of Indian craftsmanship. And so, the exhibition assortment, most of which was specifically commissioned for the present, didn’t mimic textile samples discovered encased in museums from India’s colonial and pre-colonial eras. It innovated, by introducing new motifs, supplies, and workaround methods to attain an analogous diploma of complexity within the last materials, leaving us with new hope for the way forward for textile revivalism.

Excerpts from a dialog with Lavina Baldota, textile revivalist and curator of Sutr Santati….

How do you propose to create consciousness about India’s textiles, particularly among the many youthful era?
The concept is to take the dialog about textiles past apparel. Usually, we consider textiles as solely associated to one thing we put on. However in our nation, textiles have all the time been an enormous a part of our artwork. They’ve been an enormous a part of our tradition. We gown our gods in textiles, now we have Pichwai work…. There has all the time been such a advantageous line between the craft and the artwork. I need to convey again that sensibility and provides it a extra up to date context in order that at this time’s era turns into conscious of the methods. And I need to make it interesting to them — in order that they’re excited to place textiles up of their houses, perhaps. Consciousness creates appreciation, and appreciation will create aspiration. That’s the entire concept.

Prime left: Discover the Hidden Knots, Merino wool scarf with embroidery by Rahul and Shikha, created by Muzamil, Maheshwar, Madhya Pradesh and Jaipur, Rajasthan; Unity in Range, hand embroidery by a number of artisans, Kutch, Gujarat.
Prime proper: Naga Raincoat, Ashiesh Shah — Atelier X Cane Idea.

Backside left: Sarnath, mulberry silk (warp) panels and viscose (weft) with zari. Designed by Asha Madan – Good Earth and created by Haji Kasim Mohammed Ishaque, Benaras, Uttar Pradesh.
Backside proper: Treescape, cotton warp with discarded cotton and silk within the weft. Naturally dyed indigo and madder. Designed by Ashita Singhal and Balbir Singh, New Delhi.

What half does Sutr Santati have in your imaginative and prescient?
Textiles have been such an necessary a part of our freedom motion, the Swadeshi motion, and our tradition. So, my first Sutr Santati exhibition was on Mahatma Gandhi, and khadi was an enormous aspect of that. This time as nicely, to maintain the identical mandate and take it ahead, we used solely indigenous yarns. You may see what number of kinds of yarns we’ve used on this exhibition, and so they’re all from the area the work was carried out in. For instance, a Gujarati artisan would use Kala cotton, and Kandu cotton could be utilized in Karnataka. There are such a lot of totally different sorts of yarns that persons are not conscious of — from camel hair and goat hair to various kinds of wools and wild silks. And utilizing eco-friendly dyes was additionally a vital a part of this exhibition in order that you don’t hurt the surroundings whenever you create.

Traditionally, patronage performed an necessary position within the flourishing of a number of crafts. What has modified nowadays with speedy consumerism and fast-paced manufacturing?
The concept of gradual consumerism is essential to me as a curator. Select fewer issues, however perceive how they’re made. And in addition to, textiles are fairly long-lasting. They’re not in style or out of style ever, proper? I imply, they’re a heritage. And when you lose that craft, you’ll lose the tradition. So you will need to have youthful minds begin serious about the truth that you don’t want so many issues.

Prime left: Kodalikaruppur, sari in cotton, zari and pure dyes. Handwoven and hand-block printed. Chennai and Machilipatnam, Tamil Nadu and Andhra Pradesh.
Prime proper: Patan Srinath Ji, wall panel in silk. Handwoven jamdani designed by Gaurang Shah, Patan, Gujarat.

Backside left: Mughal Flowers, dupatta in handwoven silk and zari, by Naseem Ansari — ASHA workshop, Benaras, Uttar Pradesh.
Backside proper: Hanging by a Thread, advantageous cotton in a number of counts and zari threads, by Lakshmi Madhavan and Arvind Vijayan, Balaramapuram, Kerala.

Textile revival comes with its personal set of challenges. Attempting to seize and recreate the precise model of constructing a bygone textile won’t all the time be attainable. Have you ever confronted any such challenges?
Sure, completely. The revival of something that has been misplaced is so tough. The Kodalikaruppur sari that was displayed within the exhibition, for example, is within the technique of revival. It’s been such a protracted path to get again that very same pink color that was initially used. The surroundings has modified, and the water it was washed in has modified. The standard of the zari threads has modified. The motifs on the sari that have been hand-painted have been changed with hand-block printing. We’ve to be acutely aware to not lose the craft. It’s been a really tedious exercise to revive it to its genuine self. So, if we are able to save a craft from languishing, we must always. Quite than letting go of it utterly and having no reference to convey it again.

The current exhibition talked about “then, now, and subsequent”. May you share with us what’s subsequent for you, and your wider endeavours by extension?
I need this exhibition to journey world wide and my efforts for the time being are utterly targeting that. We’re collaborating with the Museums Victoria in Melbourne, and the exhibition is scheduled to be mounted from April to July 2023. I need this to be seen as a result of it’s good to take an area dialog international. I need folks overseas to know our tradition and have interaction with it.


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