Saturday, April 16, 2011

Friday, October 1, 2010

Project Review 3

Diploma project review 2010
Review - 3
Student: Aparupa Ghosh
Review panel members: Raghu and Meera

Date: 15th September, 2010

Discussion and feedback: Since the last review meeting, I have made sufficient
progress in terms of exploration, which has helped me start with the production
process. I was told that some of the hand done swatches had potential to be
taken forward. Out of the 6 completed stoles (3 printed and 3 woven) the former
ones appealed more to Raghu and Meera, since they felt that it fit best with the
camouflage theme. We discussed how instead of having a more structured and
ordered look, the abstract and hand done feel goes much better with the collection.

I have been facing trouble getting my final textiles made at a consistent pace due to the
ongoing in-house production, so we discussed various alternatives for the situation
(using existing swatches, try working on finals on my own, as a last resort finishing off
products in Bangalore). Meera felt I should rethink shibori as one of the techniques
for the final stoles. I intend to complete 10 more stoles, which include techniques like
patchwork, block print, weaving and arashi along with 5 sarees in the next month.

My intention for the next few weeks is to complete all the final products and work on
their finishing- stitching patches, tasselling and lining and so on. The next step would
be the photo shoot. Also start on the documentation process and construct the video

-Pursue printed stoles, abstract and hand done rendition of the chosen spaces
-Go back to the locations with some of the done final products to check the camouflage
-Think about an appropriate model for the photo shoot – someone who belongs to that
environment or someone who stands out
-Stick to the photo shoot. No need to transform the photographs into a book format
(coffee table book etc)
-Video documentation can be done after final submission as part of the exhibition setup
-Incase time is running short and work is not getting done, I can come to Bangalore and
get a space to get my finals screen printed.
-Exhibition- think of framing blown up camouflage images from the photo shoot
-Most important thing is to spend the maximum time completing the final
textiles and only then go on to the next step (photo shoot, video narrative etc)
-Simultaneously start with documentation

Tuesday, August 31, 2010

Sunday, August 29, 2010

Saturday, August 21, 2010

More swatches

More hand painted and block printed swatches on the explorations page.
Print swatches, weave and stole and saree plans on the ideation page.

Friday, August 13, 2010

Own explorations

Ive started with my own explorations and the swatches already seem to be a lot more satisfying than the usual. Some of the work i am looking at, to take inspiration for my explorations are on the research page.
In the past 2 days I have come up with a variety of swatch plans and weave plans which I am extremely excited about! (ideation page)

Tuesday, August 10, 2010

Project proposal and review meetings

Diploma project review 2010

Review 2

Student: Aparupa Ghosh (TXD)

Review panel members: Meera, Raghu and Anandhi

Date: 7th August, 2010

Discussion and feedback: After 3 and half weeks of work at Weavers Studio, progress has been slightly slow. I have been trying to figure out what would work best for my project and execute it in the most efficient way possible. I am still trying to strike a balance between my project outcome, in terms of look, concept and imagery and the saleability factor that one needs to keep in mind, while working in a commercial organisation. I feel I have just begun the ideation to execution process. A whole lot of ideas still in my head and on paper, which needs to be carried out. I haven’t been getting the time and space to get my swatches made, due to internal production work at the factory, which has led to loss of time. So, in order to avoid that, I need to start doing explorations on my own, not depending on the workers for help. Use innovative techniques like mono prints, lino and wood prints, layering stencils, impressions and rubbings to achieve textures in the fabric swatches along with hand printed textures.

Some of the explorations which I have already done seemed to work while others still need to be worked up on. It was unanimously agreed that the raw hand painted look seemed a better option for making the swatch samples which could in turn be translated into sarees and stoles. Instead of waiting for an approval in the initial stages of applying the patterns and deciding on the look of the fabric, I should create the swatches first, to give a clearer idea of what is really on my mind.

The inspired images could be studied more in depth or could be captured in a different light, where instead of photography I could sketch, make collages or textures to represent the chosen setting.

My intensions for the next few weeks is the following- introducing patchwork, working with weaves, starting on final pieces, working on swatches and final products simultaneously and generally making an effort to pace up the exploration and the production process.

Suggestions: To start explorations using innovative techniques on my own, incorporate more of the raw hand painted technique, set up a studio at home if possible and work on samples, go back to the chosen sights and capture it in a different medium other than photography. Also if necessary, to take 2 days off in a week to work from home.

Next review date: 4th September, 2010

Diploma Review Meeting 1


With Meera, Raghu and Anandhi

Since Anandhi had not seen the outcome of my previous project on camouflage, I showed her some of the final photographs of the photo shoot. I then described my project proposal in detail to everyone so they got a clear idea about what I intended to do for my project. We discussed the two extremities of the camouflage situation: one where a person willingly merges in with the surrounding and two, the conflict, where the person stands out and is conspicuous in the surrounding and the intermediate stage where the transitions take place. But the question is why does it happen? What triggers it to happen?

We also discussed the various perspectives of looking at camouflage in an urban setting- it could be a way of getting accepted in a community, it could be a sense of pride for someone, a sense of belonging, an attempt to fit in with the community and changing identities in different situations, in order to camouflage with the myriad communities one wants to belong to and be accepted.

I had a doubt regarding the performance part of my project and wasn’t sure by when I was supposed to complete it. It was decided that the performance could be documented as a video that could be part of the documentation that can be shown during the display and exhibition. Since I don’t have much knowledge about filming and editing I was told that I could do with the help of a professional. The performance could also be planned as a space intervention making a statement on the situation. The performance and video needs to be planned ideated and sketched while the textile pieces are in production.

Layers, light and transparency are some of the things that I should keep in mind while deciding on the material, colour and look for the textiles.

It is also important to keep an open mind while working on the project to new ideas and opportunities and be flexible enough to make certain changes midway into the project if the need arises.

The next meeting is scheduled to be on August 2nd.


Urban Camouflage
Textile project based on inspired city spaces that comment or try to grasp the relation and interaction between body and urban space.
The body represents one’s identity and expression and is a medium of communication which is responsive as well as interactive with the outside environment, surrounding space or situation. In order to fit in, it adopts certainadaptation techniquesbased on various social, cultural and political factors.
Suggestion of 2 scenarios’ based on a social and cultural situation of multiple identities-
In this age of connectivity there is an urge to fit in and be accepted by communities. Consequently, Generation Y is characterised by fluctuating and transient identities and multiple avatars. In order to merge in with a setting, they change their identities as and when required according to location, crowd, situation and circumstance.
Identity camouflage.
Break free from the multiple avatars
Lead a less superficial life
Figure out ‘who am I?’

Chaos, conflict and connectivity. A fast paced life with no time or patience to soak in the environment. Crowded spaces with no privacy. Abandoned places losing their sanctity.
To be alone
Avoid conflict
Merge in with the urban setting in an unobtrusive manner
Being intimate or one with the environment
Fly on the wall- observing and witnessing

I stumbled upon the term ‘urban camouflage’ while doing my research on camouflage as an adaptation technique in sea creatures. While looking at the available images on it, Irealisedthat the term had a plethora of connotations- social, political, cultural and so on, and I started to develop my own interpretations of it. What drew me was the apparent identity crisis that everyone in our generation is experiencing. Thus, focusing on the social and cultural context, this project will be an explorative venture to try and merge in the aspects of body and environment with the medium of textiles.
It will go through a process of exploring and then finally identifying certain spaces in the city (Calcutta), which typically bring out the essence of the setting, and using them as an inspiration for a range of free flowing surfaces (stoles and sarees)that camouflage with the space and also can be morphed into a form. The textile pieces would be inspired from the chosen spaces, rather than be a replication of it, draping it on the body, camouflaging it with the urban setting.
Multiple textile techniquescould be incorporated to get the look and feel of the fabric pieces. On the other hand, it might be challenging to experiment with a new technique that can be explored and taken forward to achieve the desired look.
Performance art with textiles-finally, using the surfaces as performative elements, not as a mere prop, but as the performer in the performance, in terms of movement and actions that depict a narrative or make a statement on urban camouflage.
Or it could be a video art or installation (with a concept in mind, shot interestingly), showing the hide and seek nature of camouflage and thus making a statement on the situation.
Narrating a story and giving life to textiles.

-What is camouflage?
-What is urban camouflage in a social and cultural context?
-Why the want or need?
-When? In what kind of an environment or situation?
-How does one deal with a conflicting mind and emotions in such a situation?
-How to conceal or mask?
-What relation or connectiondoes the body have with an urban environment?
-How can this relation be related to textiles? How can it beinspired from the body-space interaction?
-Who are the artists who have worked on a similar kind of theme? Examples of their work.

Research on urban camouflage- articles, artists who have worked on similar projects and their works
Tours to interesting locations and identifying potential spaces in the city
Photographing spaces, textures and surfaces
Building narratives based on the inspired photographs that deal with the theme of identity camouflage.
Taking elements from the photographs and composing the textile pieces
Placing them into a collage
Scripting the photo essay or video installation or dramatic performance and executing it

Weavers studio library- books on various textile techniques
Weavers studio- fabric resource, dye lab, printing studio and work space
Photographic equipment
Video equipment (maybe)

Capturing the essence of the chosen spaces on fabric
Recreating the space elsewhere as far as display and presentation is concerned
To effectively show the connection and interaction between body and space.
Coming up with a collection of fabric surfaces (stoles and sarees) that will be both appropriate for the client and also as performance art pieces.
Depiction of the performance

To seamlessly merge 3 different creative mediums- photography, textile techniques and performance in an effective way
To understand the cultural and social context of the situation
To be able to follow a well thought out process, with appropriate design tools and ideologies, to achieve the desired outcome
To explore my role as an artist and designer in bringing out a social condition through the medium of textiles in an abstract yet expressive manner
Effective translation of ideas through exploration of various creative mediums, individually as well as collectively
To be able to make the textile pieces serve a dual purpose as inspired art textile pieces as well as functional textiles