Michelle Poonawalla Announces a New Series of Digital Stop Motion Artworks

Michelle Poonawalla Announces a New Series of Digital Stop Motion Artworks

Michelle Poonawalla Announces a New Series of Digital Stop Motion Artworks 3

July 2020: Michelle​ Poonawalla is delighted to announce two new digital stop motion artworks, ‘FromDust to Dust’ and ‘MotherTeressa, the eternal symbol of Love and Peace’ which will be available to view or purchase from 16 July on SeditionArt​.com.​

Michelle Poonawalla Announces a New Series of Digital Stop Motion Artworks 5Sedition (pictured right) has shown exclusive works with globally renowned artists including Damien Hirst, Yoko Ono, Wim Wenders and Bill Viola among others and is an online art platform that presents limited edition digital artworks by leading artists at affordable prices. Artworks are stored with certificates of authenticity in an online ‘vault’, for viewing or sale, which can be accessed via an app or web browser. In July, alongside Poonawalla’s work, Sedition will be launching Jono Brande’s collection TheTranscode Series and works from Paul Benney and Louise Stern.

FromDust to Dust’ and ‘MotherTeressa, the eternal symbol of Love and Peace’ have been produced during Poonawalla’s time in lockdown and reflect the challenging times many of us have gone through whilst also being symbols of hope. The works are produced using a digital stop motion video technique, for which the precise and slow nature formed a meditative process for Poonawalla during the lockdown.

FromDust to Dust’ is titled after the phrase ‘from ashes to ashes, dust to dust’ and is a reaction on nature’s ability to humble humanity – something Poonawalla sees as an important message from the Covid-19 pandemic. The work depicts the slow and precise disintegration of a single rose before the petals metamorphosize into butterflies. A vivid representation that however powerful you may be, life is always transient.

The second work ‘MotherTeressa, the eternal symbol of Love and Peace’ reflects a sign of hope. Influenced by Mother Teressa who devoted her life to millions of poor, destitute and downtrodden people, the work looks out to so many of the nurses, doctors and care workers who are helping today. The two works remind us that every aspect of the world is controlled by nature including destruction and regeneration but if we respect everyone and everything around us there is always hope and regeneration.

Both works are available to buy at Sedition.com. Alongside this Michelle is also showing works from her 2019 Hope​ series on Sedition. The three works from the Hope​ series stems​ from the artist’s large-scale multi-sensory installation Introspection​ and draw inspiration from pertinent questions that we find ourselves asking today about where we are headed.

About Sedition

Sedition is the world’s leading online platform for artists to display and sell their art in digital format for connected screens and devices. Sedition offers everyone an easy, enjoyable and social way to experience art-collecting at affordable prices. The company was founded by Harry Blain, the owner of Blain|Southern. The mission of Sedition is to change the art world by introducing a marketplace for collecting and trading art in the digital age.

How It Works

Art on Sedition is presented as digital limited editions that exist in the digital realm. Any purchased artworks can be experienced seamlessly across all of your devices including TVs, smartphones, tablets and computers. Works are either streamed online or offline using our free apps for iPad, iPhone, Android, Samsung Smart TV and Apple TV devices.

Sedition presents an unparalleled selection of artists and artworks – starting from only £5 – with works by leading contemporary artists including Michelle Poonawalla, Wim Wenders, Tracey Emin, Aaron Koblin, Yoko Ono and many others. With an abundance of tools at their disposal, members can share, gift and invite friends to join the Sedition community of artists, collectors, and curators.

About the Artist

Growing up between the UK and India, art has always been an integral part of Michelle Y. Poonawalla’s life. With a graduate degree in Interior Design and a Bachelor of Arts from the American College, London, Poonawalla’s practice formalised when she had her first show in 2016 at the Gateway School, Mumbai and has since continued to exhibit her work in solo and group shows in India and internationally . Poonawalla’s practice marries a more formal paint on canvas style with experimental digital technology, particularly digital video mapping and motion sensor technology, to create interactive works that push boundaries of conventional painting.

The artist’s key exhibitions include Khushi– India On Canvas in conjunction with Sotheby’s, New Delhi, 2017; IndiaArt Story, Kolkata, 2017; Elephant Parade Jaipur, Delhi, Mumbai and London, 2017 and 2018; WhatIf You Fly, a solo exhibition at Vis A Vis Gallery, New Delhi and Spazio Gallery, Pune, 2018; Movinginto the Future – Harvest 2018, a group exhibition at Stainless Gallery, New Delhi, 2018; a project at the Parma Art Fair, Italy with Gallery Marco Antonio Patrizio, 2018; Born Free at Jehangir Art Gallery, Mumbai, 2018; and Introspection​ a digital installation shown as collateral project at Kochi-Muziris Biennale 2018; as a guest exhibition at Alserkal Avenue, Dubai, March 2019; and at START Art Fair, London’s Saatchi Gallery, 2019.

The Artist’s Journey – Tikuli Dogra

The Artist’s Journey – Tikuli Dogra

Rhiti Chatterjee Bose had a conversation with Tikuli Dogra, an artist from Delhi. Here’s what she got to know:

 

 

First of all, tell us something about yourself, where are you from, about your family, your childhood, if you have any other profession.
I’m an author based in Delhi. I was born in Nainital and we shifted base wherever my mother was posted, finally settling here. You can say, we are an example of “national integration” as a family. Parents from Maharashtra and Uttarpradesh, in-laws from Himachal and now my daughter-in-law is a Sikh girl. I think it’s wonderful to have this colourful family.

Nothing exciting about my childhood. In fact, some traumatic memories that shaped me into who I am. Except for a few good things that initiated my love for outdoor and reading, everything is gathered at different stages of the journey called life. I don’t have any regular profession.

 

 

How did you start painting? What pulled you to this art form?

I always loved art in some form or the other but serious interest began a few years ago when I was battling poorly with my anxiety at multiple levels. My elder son is an artist among other things and was doing his course in animation and making digital art. I was fascinated and wanted to try. He taught me the basics and for hours I immersed myself in that. This was the start but my eyes were getting strained by excessive screen time so when he shifted to acrylic on canvas, I too did a few of his old canvases. This was the time I realized there was a calling here. I love watercolours so began painting on whatever paper I found. Slowly I gathered the courage to buy the proper material required and also began experimenting with traditional art forms like Madhubani, Warli, Gond etc. Now I do different forms with pen and ink, watercolours and looking forward to some experiments in fabric sketching. Art has opened a whole new world for me.
How did you teach/train yourself?

My son initiated me into it and I keep asking him for guidance from him but there are excellent tutorials on YouTube/Instagram and artist support websites that are free and very good. Some artists I have connected with are generous with help in technique etc. These are my learning resources. I’m still learning every day.

 

 

What influence has art had in your life?
For a long time, I’ve been struggling with issues, mentally, physically and emotionally. Art keeps me sane in hard times and at others, it helps me channelize my energy both negative and positive. I’m not saying it has cured me of everything but it certainly has helped me in focusing on the right stuff. Sometimes one doesn’t wish to write. Words have their own burden but colours are fluid. It’s a different sort of high, calm and serene.

 

 

How do you see yourself as an artist in the future, what are your plans?
No plans as such but if my work sells it would certainly help me financially. Even a little counts at this stage. I’m doing it for my pleasure and learning mostly but I’m also open to making it into a profession.
Tell us something about the style of your paintings, the genre and why did you choose to pick this style?
I do a lot of styles and it depends on my current situation and mood. Mostly I prefer watercolours. They are forgiving and challenging at the same time. I’m also loving the one line continuous drawings or simple minimalist pen drawings. I think I will focus on this style for now and do colours to fill in the empty spaces like Kintsugi.
Any advice for future aspiring artists?
Just open yourself to whatever your heart longs for. Fearless Artist is a term a learned from Artist Angela Fehr whom I follow on Instagram. She has an excellent approach for upcoming artists and it’s very encouraging. Don’t be judgemental about your work and just let it flow. That’s what I do. Nothing needs to be perfect. Let it heal you. You don’t know how much comes up from within when you dip your brushes in colour.

Riyas Komu presents ‘Systematic Citizen’ showcasing the plight of migrants in India

Riyas Komu, Systematic Citizen

Riyas Komu, a critically acclaimed multi-media artist and sculptors present its new art series titled Systematic Citizen. The series represents the plight of the displaced migrant workers from rural India to urban settlements.

The present crisis created by COVID-19 around the nation has led to an exodus of migrant workers struggling to reach their home states. The Systematic Citizen series addresses the horrible realities of displacement of millions of these workers. The project was presented at the ‘Voices From Far and Near’ an initiative taken by Ayyappa Paniker Foundations.

This series was developed to portray the suffering of the Indian migrants who were neglected by the cities they help create. With no means of earning money to feed their families, these workers walked miles and miles to reach their homes as they are tragically disowned by the urban rich, industries and factories.

“Through this project, I wanted to express my concern and showcase the struggle of the common people. This should be addressed with immediate concern and this was my hope while I presented it along with other artists.”, says  Mr. Riyas Komu.

Systematic Citizen

Life’s oddities are, perhaps, best portrayed in the face of a man from the village who comes to the town in search of work, and it is the work that does not find him. Thus begins a journey of servitude, unequal pay, even unpaid work, cramped, breathless living as a shattered community that counters all the hope of work in the city. A tragedy that has been a living reality of nations and classes since the moment of the so called independence, willfully ignored has now threatened that image which nations and classes have been making of itself from the robbed wages, stolen nights, smothering dignity, smothering life. The political imagination of it all is that men of distinction and class aspirations as their wealth grow from the charred bodies of workers imagine every death as ‘they die’, it’s not their death. These are deaths that do not have names and places, they are dissociated from all social relations when they die; while they were alive, they didn’t count, and when they died they weren’t there at all.

Besides, over the years, they say, villages have lost their creative importance in the Indian mindscape. This means, the pain invested in such journeys has lost even metaphorical value: like that of a water or an artist coming to a city and becoming a celebrated example of a rural youth regaining or discovering his creative pride. Intellectual, emotional and spiritual concerns associated with those journeys have changed so much that in the current scenario the search for what many anthropologists have termed a “self-integration” appears to have disappeared or at least remains insignificant now.

On the other hand, the growing demand for hard labour has led to a surplus and systematic supply of men, women, children of all age groups from villages to cities, and because that organized displacement of people from villages has not contributed to any special status or dignity to those who build and weld, they contribute to live in the fringes of their foster Holy Land , the cities.

The prophecies of wealth trickling down and flooding these spaces where they dwell have only brought in more intellectual, social and political insecurities as they pile up to make death look easy. Recent developments as they unfold now have turned the situation of the cities on its face. Now, faced with hunger and solitude where cities have abandoned them after the village structure left them in ruins, the journey is reversed with people going back to their villages where they face the arid, dry landscape of nothingness being there, literally. Looking for work, bread and life, and, yet, at the same time haunted by the reality of its cost makes makes us think how the concept of work tied to the needs of biological life is entangled in the biopolitical production of life and death where these migrants left to themselves by the powers that are, walk themselves like living corpses, neither alive nor dead, begin to walk, never sure of arriving, wrap themselves and throw themselves like potatoes in trucks, containers, auto rickshaws to reach the same place from where they were forced to leave. The distinction, both political and the biological that we make between life and death has been fundamentally erased. In this industrialization of death, the meaning of life carries on the weight of dying.

I must say again- as an artist, to me, it has been disturbing and a thought renting experience observing these new realities – of people coping with their drab existence in places that do not know them and were indifferent to their presence once they were there. Now that they have left or are leaving, with the thought of coming back laden with the trauma of hunger and death’s certitude, the city drowns for its own image.

This series as I have shown in the past, I dare say, emanates from the same search: seeking the linkages of work, memory and haunting, and otherwise, between life and beyond life, the grave as they suck us in our untimely and unprepared lives.

– Riyas Komu

Kolkata’s Unexplored Durga Puja Scenography, a photo story by Arghya Ghosh

Puja Pandal Photostory by Arghya Ghosh

Kolkata's Unexplored Durga Puja Scenography, a photo story  by Arghya Ghosh 47Bengali’s and their beloved Kolkata has certainly and quietly sparked a movement to turn their annual Durga Puja(o) bash into a massive city-wide public art work program. If one summarizes the way Durga Pujo has evolved, it’s a common fact that Pujo has come out of households to become a community celebration where an entire locality comes together to celebrate (commonly known as Barowari Pujo) is not a new thing. Pujo is truly a Sarbojonin (inclusive) practice. In fact, this coming out is a few hundred years old. When it comes to style transformation and If you ask critics, they will say Bengal’s Durga’s traditional style or decor (sabeki) with her sharply drawn eyes has been fast replaced by as people say, “Hema Malini Durga”, or goddess becoming to look like any powdered Bollywood Actress has rather been an episode that the so called well wishers would seldom like to remember.

A small initiative that started a few years ago to provide work to jobless young artists from the art schools of the city suddenly becoming to look like an yearly movement, a powerful expression of what a community can do to express their ways of celebrating a religious festival that can easily be called a global phenomenon and a cutting edge cross-cultural one, a new wave that is sweeping the city with exquisite innovations, overwhelming corporate supports, encouragement and more and more new ways of looking at Bengal’s humble Pujo. Kolkata calls it the new wave of Theme Pujo or to explain it simply thematic or theme-based pujo where there is a certain sense of curation, a central narrative around the celebration that each pujo pandals pick and explore it with rather flying colours. Here are few glimpses some of this years jaw-dropping experiences.

 

A neighbourhood of where I stay in Kolkata, this pandal depicted a gigantic womb, the beginning of creation, made with absolutely unprecedented jugalbandi of Ghora (earthen pots), dried grass, bamboo and red-bordered textiles, which is typical of Bengal’s sacred objects. The massive round structure, a perfect circle moving upward like a gigantic mushroom that is adorned with millions of earthen pots greets the audience inside which is an inside out space, continuously moving like a living being with the goddess on one side and an audio visual of a potter on the other side. The overall experience of the space with its intense structure, music and ambience, creates a very other worldly sensation, a true next-generation thinking for a public space that can go many years ahead to achieve something like this.

 

This pandal took our daily newspapers to a next level of exploration by using it in many ways to scenograph a space. While choosing the papers, they featured stories that Bengali’s are emotional about and important to Bengal’s history. Innovative use of lights and paper folds coming together and making extensive use of origami makes this space comes alive with a key message of up cycling.

 

Based on a poem by Tagore, “Kolkata is still in Kolkata”, this pandal explores the city’s main features that remain unchanged and the people living in the city are happy to co-exist with their grand old urban memories that as Bengalis say “refuse to change”. Right from congested walls of the old city to a birds-eye view of the city scape being used as the inner ceiling of the pandal, this structure truly makes Tagore’s poem comes alive and makes it relevant for today.

 

Kolkata’s nostalgia is multifaceted and layered. This pandal beautifully explores the quintessential nukes and corners of the city that at times are heavy with memories, some memorable, some may be of dark past. Refugees, the city’s intimate neighbourhood where the walls are thin, a collage of lifestyle of many who comes to the city to earn a living from all over the country, this pandal opens up a new way of looking at space where imperfection is celebrated with much pomp and under privileged are given a voice.   This was my favourite.

India’s is rich in the tribal knowledge system. Unfortunately, our future generation is not well informed about our Adivasis. This pandal explores the Tribal ways of building and decorating the space by engaging Khobar and Sohrai painters of Hazaribagh, Jharkhand. Instead of goggling their painting or referring to any books, these organisers actually invited a large group of tribal painters in Kolkata for months to build this pandal with a space designer. This certainly is a new way of looking at livelihood for our Adivasi friends.

 

 

 

North-East India and Bengal’s Bamboo and Cane artisans takes lead for this pandal. Its abstract cane arches, the bamboo interior and its light arrangements make it a very special treat and shows space designers how these humble day to day materials can achieve when you think innovative.

 

Kolkata's Unexplored Durga Puja Scenography, a photo story  by Arghya Ghosh 103

The traditional backdrop of Bengal’s Durga becomes the centre of attraction here. It is important to note, Durga puja provides livelihood to many local artisans and ancillary units. While mostly the main focus goes on making the goddess, one often forgets to notice the elaborate backdrop which is called Chalchitra. In this pandal, this backdrop becomes the main key to pandal decor. Its unique slant positioning makes it look like an image of immersion. The over all treatment of the backdrop, the details of it, and its traditional arch typical ways are happily challenged here and the result is fascinatingly fresh and new ways of looking at decor that was always there with us but which we often tend to ignore, unknowingly.

India Printmaker House announces shortlisted artists for Manorama Young Printmaker Award 2019

India Printmaker House at ArtBuzz Studio

India Printmaker House at ArtBuzz StudioIndia Printmaker House is pleased to announce this year’s shortlisted artists for Manorama Young Printmaker Award 2019.

Winner: Mausham Raj
Runners up:  Abhishek Verma, Sheshadev Sagria

Below is the list of 22 Shortlisted Artists, selected by the renowned artist Temsuyanger Longkumer, who carefully went through each and every application.

Aban Raza | Anjali Sharma | Attri Chetan | Chhering Negi | Davendra Kumar Khare | Deepika Sakhat | Dimple Chandat | Jintu Mohan Kalita | Kashish Gupta | Kavita Mehrotra | Koustav Nag | Mahima Kapoor | Megha Madan | Prabhakar Sahoo | Prachi Sahasrabudhe | Preya Bhagat | Purnaa Deb | Sandeep Suneriya | Satyanarayana Gavara | Savitha Ravi | Sukhmoy Bagh | Tribhuvan Kumar 

India Printmaker HouseIndia Printmaker House, founded by Shivangi Ladha and Akshay Agrawal, is a contemporary online gallery dedicated to nurturing artist and their craft in all forms of printmaking. Established in early 2018, it intends to create possibilities for printmakers within the broader cultural and artistic practice. By showcasing high quality, handmade, limited edition fine art prints at a fair price, making their online gallery an accessible and inviting platform. Representing a diverse selection of young students, contemporary artists and some of the best upcoming printmakers.

IPMH selects a winner who shows an exceptional talent for Manorama Young Printmaker Award annually, who are selected by a Jury. The winner receives a financial award of INR 50,000 and fully funded residency at Artbuzz Studio, Delhi. The other 24 artists are represented on their online gallery.

The platform works in collaboration with their cultural partners – Artbuzz Studio, Ravi Engineering Works (a leading manufacturer of printmaking products) and Parkshala, an NGO based in Noida.

Shivangi Ladha co-founder says

The biggest challenge with pursuing printmaking in India is the lack of opportunities, studio spaces and lack of people’s interest in collecting prints. Printmaking is considered a dying art and I wanted to bring a change in the India Art Scene. After bouncing ideas for several months and promising that would start out on own, we settled on India Printmaker House, keeping in mind that growth should not just be an individual, but a collective growth of society.

Such platforms will assist in establishing a new foundation for all printmakers in India. It will develop and foster an environment where individuals will create works far beyond the measures of the limited potential of our minds.

Akshay Agrawal, co-founder IPMH,  believes that he is not looking to change the world but to add to the society by giving young artists a standing and a voice in this overly competitive and globalized world”.


Shivangi LadhaShivangi is a practising artist and has done her specialization in MA Printmaking from Royal College of Art, London in 2016. Prior to this, she did MFA (2012 – 14) in Fine Arts from Wimbledon College of Art, University of the Arts, London and graduated with BFA from College of Art, Delhi University in 2012. Along with the technical knowledge of Print (etching, lithography, screenprint) her studio practise also includes research within the broad context of art.

Her work has been widely exhibited Internationally including Art on Paper Fair New York, E/AB, Art Fair New York, Art Rooms International Contemporary Art Fair London, New/Prints Winter Exhibition at International Print Centre New York, Young Subcontinent – Serendipity Art Festival India, Fragmented Identities: the gendered roles of Women in Art Through the Ages – Mead Museum, Massachusetts, Friends of Prints – British Museum to name a few.

She was the 2019 receipt of the ‘International Artist in Residence’ SNAP, Canada, ‘Visiting Artist In Residence’ East London Printmakers, ‘Financial Grant’ from Lalit Kala Academy, India 2018, ‘Artist Development Residency Award’, IPCNY 2018, ‘Anthony Dawson Young Printmaker Award, Royal Society of Painter-Printmakers ‘Second Prize 2017, ‘Jerwood Drawing Prize’ 2014, and ‘Long List Signature Art Prize’ 2015.

Her works are also part of a permanent collection at British Museum, Victoria & Albert Museum, Royal College of Art’s and Print Archives, London and Mead Museum, U.S.A.

Visit the following links to check more work by IPMH

www.indiaprintmakerhouse.com

Shivangi Ladha – http://www.shivangiladha.com/

Contact Email: contact@indiaprintmakerhouse.com

This year Jury – Renowned artist Temsuyanger Longkumer – http://www.temsuyanger.com/

Level Up – An outdoor multi level social space at EASA Croatia, 2018

Level Up - Art Installation at EASA Croatia 2018

Designers and Tutors :
Brett Mahon (Northern Ireland)
Joonas Parviainen (Finland)
Saagar Tulshan (India)
Shreyansh Sett (India)
Vanja Borovic (Croatia)

Level Up - An outdoor multi level social space at EASA Croatia, 2018 112

Level Up – a site-specific design & construction workshop held at the European Architecture Students’ Assembly, RE: EASA Croatia 2018 held in Rijeka, Croatia. The workshop set out to readapt a disused rooftop next to the Dead Canal in Rijeka’s Delta area, bringing it to life as a community meeting and event space for locals. During the event EASA sees the collaboration of over 500 students of Architecture and Design from all over europe and beyond, working to make a difference to the city where its being held. The event is formed of variety of workshops based around the philosophy of design, seminars and lectures by leading professionals and youthful thinkers.

The pavilion, built on an extension of a 50’s industrial storage building named Export Drvo, starts at the street and ascends upwards in a series of levels which progress to an elevated terrace built on top of the existing rooftop. Each level forms an intimate yet connective space for small groups to gather and at the same time provides a public frontage and awareness of the ongoing cultural regeneration of the Export Drvo building. This regeneration is coming in the form of adaptive reuse as a reaction to the disregard of industrial heritage in the city of Rijeka. A once thriving harbour port and nucleus of industry, the city today is populated by disused industrial building which have unlocked potential for the cities growth. A raised platform on the terrace provides for small gatherings to be addressed and a observation level steps up to allow users to gaze at the city beyond.

Level Up - An outdoor multi level social space at EASA Croatia, 2018 114

Level Up is a social space outside the Export Drvo, which is set to become an important venue when Rijeka becomes Europe’s culture capital 2020. From top of the pavilion opens up an exceptionally complex view, a 180 degree panorama varying from the mountains surrounding the city and chimneys of the old industrial district of Hartera to the 19th century theatre and market, the slow-flowing Dead canal with it’s small boats and Tito’s ship Galeb to the post industrial harbour and the open sea with misty mountains in the horizon.

Instead of creating new public urban area, Level Up puts focus on reclaiming existing space. It creates a balcony to the Delta with an industrial aesthetic, acting as a public frontage. In an era where permanence of the built form has been defining architecture, Level Up celebrates Ephemeral Urbanism, inviting everyone to ponder material and spatial impermanence. Is a recognition of the transitory nature of physical substances integral to the city growth process? Level Up is not just a construction idea but a pursuit of this philosophy

Photos by Rahul Palagani

Photos by Alexandra Kononchenko

Drawings

Site : Export Drvo Building, Rijeka, Croatia
Built up Area : 110 Sqm
Completion date : August 2018

Photographers:
RAHUL PALAGANI
ALEXANDRA KONONCHENKO

Facilitator : European Architecture Students’ Assembly (EASA) Croatia 2018// www.easacro.info

Materials Used : Steel Scaffolding structural frame (Doka), Solid construction wooden members, Decking wooden boards, Spax screws, Plants from Garden center, Viskoso (Rijeka)

Collaborating workshops at EASA Croatia 2018 : Masonry

Participants : Ana Mateos (Spain), Anna Opitz (Germany), Аnton Fedin (Russia), Ásta María Thorsteinsdóttir (Iceland), Ayşe Tuğçe Pınar (Turkey), Birgit Fløystad (Norway), Caro Andrade(Mexico), Ciaran Magee (Northern Ireland), Chloë Reyda (Belgium), Felic Micallef (Malta), Gleb Rudenya (Belarus), Glenn McNamara (Northern Ireland), Gustavs Grasis (Latvia), Ilia Bebi (Greece), Joanna Lewanska (Poland), Julia Triches (Brazil), Julien Hermant (Luxembourg), Klemen Mraz (Slovenia), Mattea Fenech (Malta), Samúel Aron Laufdal Guðlaugsson (Iceland), Sebastian Bidault (Mexico), Simona Svitkova (Slovakia), Tadhg Spain (Ireland)

Lights, Camera, Architecture! Exploring cinematic spaces with Sangeetha Polisetti

Who among us does not remember in stunning clarity the platform scene in Dilwale Dulhaniya Le Jayenge? Or the grandeur of the Calcuttan hawelis in Devdas? Or the panoramic beauty of the indoor city of Saawariya? Beyond the memorable dialogue and multi-faceted characters, the visual memories of these movies linger with us, often continuing to weave stories even as the curtain closes.

Loud, colourful, and larger than life – movies have long been a vehicle for our fantasies as well as our aspirations, creating an exhaustive world that draws us in and leaves an impact that goes beyond the screen and often pervades our real lives. Charting this phenomenon is Sangeetha Polisetti of Lights, Camera, Architecture, who combines her pedagogical expertise with her love for cinema to deconstruct, document, and analyse memorable scenes from magnificent movies.

“The physical realm of the space cannot the erased from our memory – it definitely influences the way we think about certain things,” says Polisetti. “As rightly said in Drushyam, ‘People may forget what they heard but it is very difficult to forget what they saw.’ The way we perceive a dark corridor with a door open at the end is immensely influenced by horror movies. It is very difficult to remove all these pre-conceived notions about a space, and movies have a huge influence in forming our decisions.”

It is this influence that drives Polisetti’s initiative. “Architecture doesn’t only comprise of constructed buildings and unrealized projects of architects,” she tells us, “but also includes its evocation in art and culture. This is why I set out to address the architecture of the imagery in the world of cinema, which explores spatial design to a great degree… Although the Utopian cities and visionary buildings like those seen in Avatar or Bahubali might not be possible in the real world, a great amount of spatial understanding goes into making them appear convincing to the audience.”

Lights, Camera, Architecture! Exploring cinematic spaces with Sangeetha Polisetti 167

The brown colour palette and minimal usage of green represent the sad and angry state of people of Mahishmathi and the cruel nature of Bhallaladeva. The perspective employed here also establishes the power of the monarch and his confidence in his son’s strength, and adds drama to the conflict between man and beast.

How we perceive spaces and how we portray them is inextricably linked, each affecting the other; the depiction of space ranges from the tropic to the iconic, and drives the story forward as much as – if not more than – the characters and the dialogue. “Sometimes, space in films acts like a background – sometimes unnoticed (e.g. Drushyam), sometimes creating an impact unconsciously (E.g. Arundathi and Sakhi, where multiple scenes are shot at the same spot to subconsciously connect the viewers to the space) and sometimes to establish an impression about a character before physically introducing them (e.g. Hrithik and Farhan’s rooms in Zindagi Na Milegi Dobara).”

“A scene can translate in few seconds what dialogues cannot. Visuals are a great tool to communicate information – they have more impact over the audience than mere narration does.”

The strategic placement of windows and furniture in the Mascarenhas Residence aids the telling of the story of Ethan’s rise in fame and subsequent downfall

From tracing sight-lines in Bajirao Mastaani to studying the impact of characters on the places around them in Mayabazar, Lights, Camera, Architecture applies the classical parameters of spatial analysis to the make-believe set-ups in popular cinema, proving how principles of design – especially in their scope to incite anticipation, infuse familiarity, and inspire emotion – provide consistent results despite diversity of media. “This is how I go about analyzing a scene: I watch it at least 5 to 10 times and make rough sketches – it is very important to watch it multiple times to understand the proportions, scale and relation of character with the space.”

“Every time I watch the scene, I focus on a new aspect – like once for the patterns on walls, once for the column placement, once to estimate measurements, etc. After this drill is done I decide which diagram can best describe the scene. I also try finding the script of the film online – and any other references that I can find – movies and read them, make notes, collect screenshots and then sit to write the analysis.”

“I don’t have a fixed team for Lights Camera Architecture as yet,” Polisetti tells us, when asked about the team behind the project, “It just started as an idea of combining the two things I love the most – Architecture and Films; I realized the amalgamation of both is very intriguing, and really enjoyed doing this.”

“It is mostly me working on the drawings, research and text, but my friends are a great support system. They help me with the work occasionally, mostly through providing invaluable critique; my friends, Kondal and Bindu – both architects – also helped me with the drawings for few projects. I am also currently looking forward for some collaborations to get some new ideas, styles and analysis on board.”

Sight-lines are carefully crafted in Sanjay Leela Bhansali’s movies to evoke a sense of grandeur and romance, enhanced by the intricately detailed backdrops.

The impact of spatial depictions on the viewer’s mind often reinforces and subverts popular tropes at the same time. Given this incredibly nuanced effect, Polisetti’s work gains a higher significance than one would ascribe to a mere exploration – it is an introspection on social mores regarding spaces and how these affect the principals of architecture.

“The world of cinema influences the lives of millions of people and they tend to aspire from the architecture shown in films. It demonstrates the ways people have put meaning on the notions of the home, public spaces, monuments and landscapes. Through Lights, Camera, Architecture, I basically want to find answers to the following questions:

  • Can movies be taken as a medium to educate people about spaces and sensitize them to architecture?
  • Can they be used as a medium to understand the emotion and design of space?
  • Can we consciously make an effort and notice the unnoticed in films to better understand various aesthetic sensibilities?

Lights, Camera, Architecture! Exploring cinematic spaces with Sangeetha Polisetti 169

The first song of Mani Ratnam’s Geethanjali  is shot in Botanical Garden, Ooty, with careful use of lush greenery, mist and rain to establish the character of the female protagonist as a foil to the melancholy male lead.

You can explore her work in detail on her Blog as well as on Facebook


Lights, Camera, Architecture! Exploring cinematic spaces with Sangeetha Polisetti 171Sangeetha Polisetti graduated from SVCA, Hyderabad, and worked with Matharoo Associates, Ahmedabad for more than a year, till Oct 2016. She is currently working with Design Experiment, Hyderabad, and has been working on Lights, Camera, Architecture for the last 6 months.

Exploring Oritecture with Ankon Mitra

Oritecture - Ankon Mitra

Exploring the conjunction of Origami and Architecture, Ankon Mitra’s Oritecture is an imaginative exercise in blurring the boundaries between craft and engineering. Titled with a portmanteau of his own invention, Mitra describes the concept as “the infusion of the ideas, philosophy and the expression of folding into architecture and design.”

Oritecture as an initiative is only a constant reminder to myself to explore and unearth this fundamental phenomena [of folding], and emulate these guiding principles in not only architecture, but all things that I create.

Mitra’s philosophy has guided and moulded several of his projects, ranging from sculpture and furniture to entire buildings. Here are a few of the examples:

Hextile/UFO
Collaborative Project with Suryansh Chandra

Borrowing from the idea of weaving and structure in textiles, a hexagram-like form is imagined with its six arms radiating outwards – like a hexagonal sun. Origami usually generates sharp geometries – especially if created in metal – but here the idea was to represent a softening of that sharpness, creating fluid lines. Curved folding in metal was employed as a technique to achieve this idea of a benign and benevolent Sun. This is an open lattice, the lines of energy flowing and folding around the form resembling the Mandala of flowing energies around the Earth created through the interaction of the magnetic field of the planet with solar force-lines.

Oritecture - Ankon Mitra
The lines of solar energy folding around the Earth’s magnetic field is what inspired the form of the Hextile modules

The sculptures have been installed in the Nature Discovery Lounge at the St. Regis Resort in the Maldives. Individual modules have been optimized to create light-weight furniture, labelled Hextile Tables. The 0.5 mm thick aluminium sheets used to make these tables have been curve-folded, giving them a much higher strength than typical despite the thinness and lightness of the material.

Kirigami Lounge Chair (Scaled Prototypes)  – Upholstery Design and Fabrication by Kriya Studio

Kirigami – unlike Origami, which concerns itself with folding only – is a technique which allows material to be cut along with folding. It is a very effective method to make objects and forms light-weight by removing all superfluous material from the body of the form. While the folds of the Origami ensure strength disproportionate to the thinness of the original sheet metal, Kirigami ensures the form becomes even more light-weight than if it were only Origami. The Kirigami chairs are 3.5 feet wide and just as high, and made from stainless steel and upholstered with fabric and foam.

Yum Yum Cha Restaurants
 – Project undertaken by Hexagramm Design at Saket, Delhi and Cyberhub, Gurgaon

The interiors of the eateries have been conceptualized in vibrant colours, and the folded Origami décor compliments and synergizes with the Japanese cuisine. Here, Origami fulfils its original purpose – making people and spaces happy. The restaurant space soaks in themes like the Sea, Underwater World and the Rainforest Canopy. Objects are literal and depict birds, animals, plants and objects; the materials used here consist of paper, aluminium, and polypropylene.

Ankon Mitra - Oritecture - ProfileAuthor Bio: Ankon is an architect by training with a keen interest in the geometry and mathematics of plants, trees and flowers. A Gold-Medallist from the School of Planning and Architecture (S.P.A), New Delhi, and having pursued his Masters Degree from The Bartlett, University College London, he is Design Director (Landscape), at Hexagramm Design Pvt. Ltd. , working on resorts, farmhouses, hotels and residences of various sizes and imaginations. As part of his Oritecture initiative, he has conducted scores of workshops, designed interiors and sculptures for popular restaurant franchises, given a TEDx talk on the topic and hosted two solo art shows. He has also co-authored ‘Questioning Architecture’ with Gita Balakrishnan. Connect with Ankon Mitra on Facebook and Instagram

Meet Archana Pereira, of Ink Trails Illustrations

Archana Periera - Ink Illustrations

I prefer to walk around in the city, instead of being stuck in the traffic” Archana Pereira, founder of the Ink Trails Illustrations tells us, “and so I notice a lot of details in the architecture, in the lifestyle of the people, humour in the day to day activities on the streets… I try capturing all of this, and freezing that moment as a memory.

Documenting an architect’s impressions of the Indian city, Ink Trails Illustrations lends life to streets that don’t often garner attention beyond their inhabitants and their lives. Committing to paper various urbanscapes across the country – celebrating the animate and the inanimate alike – Pereira’s work is vibrant and engaging, with little titbits of city life captured perfectly in her crisp lines and dense textures. Her use of colour is often sparse but impactful, solid swathes accentuating the subject and throwing intricate details in stark relief. 

Archana Periera - Ink Illustrations

I’ve always loved sketching,” says Pereira, “but this idea of sketching different cities came about when I was pursuing my Masters Degree in Glasgow, working on a project for my elective – Drawing as research. It was a series of sketches of a particular area in Glasgow – like a walk-through, where one sketch by one sketch it took you around that area. Ultimately, Ink Trails materialized in September 2016.” 

Her most recent (and on-going) series of illustrations – 100 days of Incredible India – documents the breath-taking variety of the country, encapsulated in its buildings, its festivals, its culture and even its natural landscapes, via a series of 100 illustrations over 100 days, from the doorways of Havelis in Jaipur to the backwaters of Kerala. 


 Archana PereiraBio: Archana Pereira, an architect by qualification, runs the art studio Ink Trails Illustrations. She completed her Bachelors in Architecture from the University School of Design, Mysore, and Masters from Glasgow School of Art. Her work focuses on travel-based illustrations and related merchandize, as well as commissioned artworks. Her work also been featured in the Kala Ghoda Art Festival, in February 2017.
You can see more of her illustrations on her personal blog, Facebook, and Instagram

Washed Ashore creates delightful art from plastic waste washing up on the beaches

Washed Ashore creates delightful art from plastic waste washing up on the beaches 183

The beach

The sculptures from waste created by Angela Haseltine Pozzi, the founder of the Washed Ashore Project.

Washed Ashore is a non-profit community art project founded by artist and educator, Angela Haseltine Pozzi in 2010. The project is based in Bandon, Oregon, where Angela first recognized the amount of plastic washing up on the beaches she loved and decided to take action. Over the past six years, Washed Ashore has processed tons of plastic pollution from Pacific beaches to create monumental art that is awakening the hearts and minds of viewers to the global marine debris crisis.

NeSpoon – Where others see cracks, she sees art.

NeSpoon Street art

NeSpoon, the Polish artist creates street art (and more), using lace work and stencils, that’s not only beautiful, but intriguing and intense at the same time. Cracks on the side walks, walls, usually become her canvas. With her art, which has positive emotions and stories, NeSpoon desires to make a positive impact in human lives. The local context, culture and surroundings matter most, and help NeSpoon create a harmonious art. Involvement of folk artists in her work, ensure that local people connect with the art.

NeSpoon
NeSpoon PL

Below is some of her work:


Sajid’s house, below

*Mr. Sajid is homeless man, who lives on the beach in the Sinai. He earns by fishing and selling fish to local Bedouins. – LeSpoon*


The Big Picture, Below:

*Imagine an ant walking on a doily. The ant doesn’t know on how beautiful pattern she’s running. What she sees in front of her are just entangled threads. She follows the particular thread but doesn’t know where it leads.To see the beauty of the lace pattern, the ant would have to change the point of view, look at the pattern from distance. Only then her eyes would see the big picture. – LeSpoon*

Nespoon Street art
Nespoon Street art
Nespoon Street art

Her art is not restricted to walls, tree trunks, utility boxes, a stone, or a brick, she brings almost anything and everything to life with her art. Below:


Mural and Light:


More work by NeSpoon:

All photographs, courtesy: NeSpoon. Follow NeSpoon on Behance.