Interviews by Mallika Chandra. Images by Naomi Shah.

Vitamin Sea

Do you assume that the competition offers guests with a chance to have interaction meaningfully with the Koli fishing neighborhood and the problems that they face at massive?
The competition at Sassoon Docks acts as a site-specific inventive intervention. I create socially engaged artwork and it’s the way you mould folks’s minds that’s necessary. The town doesn’t know a lot in regards to the Kolis, I don’t assume city dwellers are involved about our ongoing points; they’re busy incomes their livelihoods and pursuing their ambitions. This competition is an try and redirect consideration in the direction of the problems plaguing the neighborhood.

What was your relationship with Sassoon Docks like in your growing-up years? And did showcasing your work right here deliver again any recollections?
My mom was within the retail fish enterprise for over 40 years and I used to accompany her to Sassoon Docks to purchase fish. I’ve recollections of strolling across the space along with her and imbibing life classes of no-escaping-hard-work. Vitamin Sea is about meals and sustenance. The Kolis worship marine life. The whale shark, for instance, is domestically often known as Bairi Dev, and it survives on turtles — who we consult with as Kasav Dev — and planktons.

Was the fabric chosen from a conceptual in addition to a stylistic standpoint?
Resin is now a part of our materials tradition. Earlier, our boats and enormous vessels had been made out of jackfruit wooden, however now most of our fishing vessels are product of FRP (fibre-reinforced polymer) resin which, I believe, is an apparent materials to make use of. I like the fabric’s rooted stillness. My indigenous identification is all the time mirrored in my artwork follow. The resin I take advantage of is a clear medium — it goes nicely with my aesthetics and means of seeing.

Are you able to stroll us by way of your artistic course of?
I begin by drawing. My sketchbooks usually are not the small A4-sized ones however a lot bigger (7 toes by 5 toes) and mounted on an easel. I maintain drawing in them. The train includes constant engagement. Later, this drawing is reworked right into a three-dimensional large-scale clay work, for which I take advantage of Shadu clay as it’s native to Mumbai. I take pleasure in doing all the things myself, I wish to work with my palms for that’s what makes us people. It’s a protracted process-based work by which the entire physique is engaged.

The Magic Dice

Your work is motivated by how dwelling in compact areas would possibly appear like sooner or later….
From our very first conversations with Hanif [Kureshi; co-founder and artistic director of St+art India Foundation] and his staff, we began creating the thought of a micro-home fit-out, extra as an thought immediate for guests. The huge potential of a competition like that is that it turns into a market for concepts. We reply, critique, parody and fall in love with our metropolis over again. Our set up was shrunk all the way down to mirror the flats that we spend our lives in — the concrete bins which can be supplied to us by builders to conduct our life, work and play in.

We do an incredible disservice to our properties after we take them as a right, permitting them to turn into static backdrops to our lives. Our properties have the potential to make us extra conscious of our environment, create energetic and vibrant lives and make us extra engaged and curious in regards to the world we reside in. However provided that we permit them to, and if we design them to allow this. Our work at Sassoon Docks was located in a extremely pretty outdated bungalow, completely sq. in plan. We thought it’d be enjoyable to insert a immediate round future dwelling, a hyperfunctional dice that collapses the performance of a whole house into itself. The concept was to introduce a prototype future house which, ideally, guests might ponder over, critique, talk about and perhaps construct — their very own variations, at their very own properties.

Your work raises questions on the way forward for compact dwelling areas. Are you any nearer to answering these?
The Magic Dice set up is definitely a part of an extended iterative set of experiments that we’ve been engaged in since 2006. My first house in Ranwar village in Bandra was additionally an train in hyperfunctionality. I lived for 2 years in a 160-square-foot “residence”, with sliding partitions and furnishings that allowed me to have a walk-in wardrobe, a walk-in library, a full-size desk and likewise a king-size mattress, simply by shifting a number of partitions on channels. The act of dwelling on this kind of context, the place I needed to actively create the areas I wanted on an hourly foundation, created a kind of choreography with furnishings, and a really energetic relationship with the house. We then labored on one other venture titled Folly Home that engaged in these inquiries by way of a 4,000-square-foot house that launched concepts of craft and hypermobility into the combination. Zameer (my brother and co-founder of The Busride Design Studio) constructed hyperfunctional items into his personal residence in Bandra.

Watching guests stroll across the dice after which discovering totally different entry factors into the house, discovering cat doorways and secret cubbyholes, was actually enjoyable. And thru social media we’re capable of relive a bit of every customer’s expertise. I hope that there’s some resonance, and perhaps a handful of them went again with concepts they’d wish to discover in their very own properties. I do consider that hyperfunctionality and intense design detailing workout routines will create the kind of properties we’d wish to reside in, in future cities. Compaction tradition impacts all of us, no matter our demographic. Even the well-heeled in Mumbai reside their lives out of concrete bins, stacked one above the opposite in an more and more concretised metropolis, and prompts like these might create small cocoons of hyper-utility in areas that desperately want hard-working options. Our properties should be at the least as hard-working as us, if no more. This isn’t only a Mumbai factor, it’s true throughout numerous megalopolises; compaction tradition is taking part in out in more and more attention-grabbing methods. Compaction tradition is endemic, and town is its manifestation.

Have been the supplies chosen from a conceptual in addition to a stylistic standpoint?
By a even handed selection of fabric, we hoped to create The Magic Dice as a diegetic prototype. A diegetic prototype is a software utilized in speculative fiction, an space of design we’re very actively exploring at present. A diegetic prototype is a piece in progress and its solely position is to impress dialogue. The concept is to not create a completed product that may be bought or marketed, however quite a rough-around-the edges scaffolding that customers can flesh out with their very own conceptions of what a house would appear like for them individually. We selected to steer clear of a completed thought, in addition to extreme propping. We created nearly the whole construction with a single materials, oriented strand board (OSB), for its tough uncovered visible texture. That is offset by a bunch of merchandise, materials, wallpapers and fittings from Asian Paints, our occasion sponsor, to finish the trimmings of a future house. In taking place this street, we had been capable of construct a sure open-endedness to the exploration and steer clear of subjective and aesthetically derived responses that have a tendency to remove from the inquiry.

Are you able to stroll us by way of the method of making the set up?
Our first step in creating the set up was a web site go to with the St+artwork staff, and a kind of free-ranging curatorial chat with Hanif, who’s an outdated pal and long-time collaborator. We had been very taken with exploring the thought of a future-home set inside an old-home context, to spark the creativeness of what life in a metropolis could possibly be like. The Asian Paints Artwork Home additionally served as one of many occasion venues for the competition, so we had to bear in mind the essential actions of crowds. A gathering house was created on the bottom flooring for occasions, lectures, discussions, product launches and the NFT (non-fungible token) gallery. And Asian Paints additionally used it to announce the launch of their color of the 12 months. As we developed the design, we created a bunch of OSB samples exploring therapies and materials juxtapositions, to raised visualise remaining outcomes. Saee [Pagar] from our studio spearheaded the whole construct and labored intently with Suresh [Vishwakarma] and his staff of carpenters to design and execute the whole house. There was a enjoyable interplay with the Asian Paints staff as nicely, to combine a few of their house merchandise into the house, to supply much-needed context and color to the set up. Being a time-bound, deadline-based construct, it was just about continuous work with day by day supervision to make sure all of it got here collectively on time. The spotlight for me was how the completed object blurred the boundary between being a room and an object. It kind of behaved like an object within the Artwork Home context, however a room once you truly engaged with it.

Toy Faces

How do you assume the idea of nostalgia responded to Sassoon Docks, the positioning of the set up?
Toy Faces is a set of portraits which can be pushed by nostalgia and childlike surprise. Toys are objects paying homage to a rare time when the phrase “cynical” wasn’t a part of our vocabulary. The gathering celebrates people and characters by way of historical past and fictional tales, to remind us of our first sources of inspiration and revisit the sentiments that include experiencing advanced worlds for the primary time.

During the last two years, I’ve created a number of Toy Faces, taking part in with signature bear ears, button eyes and Pinocchio noses with a number of characters and avatars on an open canvas.

On this exhibit, I’ve prolonged the Toy Faces NFT to 5 artists — Atia Sen, Neethi, Osheen Siva, Santanu Hazarika and Zero — taking inspiration from Silver Escapade, the Asian Paints Color of The Yr 2023. The result’s a playful collaboration celebrating the spirit of our youth whereas incorporating numerous kinds and mediums.

That is the primary time that NFTs had been part of the Mumbai City Artwork Pageant. How do you assume the general public has responded and engaged with them?
Digital artwork is likely one of the most generally used artwork mediums. NFTs and blockchain have disrupted this medium and allowed it to turn into tradable. I’ve acquired an unbelievable public response with quite a few shares and messages in my social media inbox. By being a part of this competition, Toy Faces has proven us the potential of this medium.

What was it like collaborating with the opposite artists for Toy Faces? Do you see extra artists collaborating within the Web3 house sooner or later?
I agreed to take part within the competition primarily due to its collaborative nature. At first, I used to be anxious about extending my assortment to artists from totally different mediums nevertheless it quickly grew to become obvious that this might be certainly one of my greatest collaborations.

Web3 is an extremely collaborative house; it’s frequent to work with fellow artists in Web3 and even acquire artwork from them. Due to much less institutional involvement in Web3, artists rely upon one another extra right here than in conventional areas. Plus, good contracts and blockchain make the whole collaboration very clear.



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