A change in scene and season...

This blog post is written with a sigh of relief yet with a strange sense of loss and disorientation after having just handed in my MA thesis.

I am awaiting a viva for which I'm partly apprehensive about and partly looking forward to, being that I have admiration for both my examiners, one as a textile historian and the other as a textile practitioner. I hope to post the thesis soon on this blog.

Meanwhile, I will be presenting aspects of the research at the TRIP (Textiles Research in Practice) symposium at Loughborough University in November. My paper will focus on how the ancient craft of block printing using hand skills and natural dyes is continuing today, having survived the onslaught of technology and cheaper mass-production methods, and chemical dyes. A particular focus will also be on the transmission of skills and knowledge and the recent development of design education and how this is allowing craftspeople to be their own designer, marketer and producer, developing new innovations within a rich cultural living tradition. 

Handicraft in India has been associated with struggle and marginalisation during the last century. But with a resurging interest in quality products made with care and cultural meaning in a country with a burgeoning economy and middle class to support its creative industries, Indian handicrafts and artisans have a bright future.

On another note, I didn't manage to make it to much of the Didsbury Arts Festival being immersed in the stress and madness of submitting my thesis. However, I did manage to fit in time to install an installation of kid's art work in the window of Pixie and helping to set up the Festival gallery. See pictures on Flikr

Now that I have a little more time on my hands, I have finally be able to get out and see stuff. I finished the thesis just in time for the opening of the Asia Triennial Festival in Manchester. I have continuously raved about Shisha's work and despite them bearing the brunt of the government's cuts, they still continue to do their outstanding work, of which ATM is a prime example.

Pakistani artist Rashid Rana's exhibition at The Cornerhouse is contemporary, intense and intriguing and embeds layers of meaning. Rana's work alternates between two and three dimensions and uses thousands of tiny photographs to create huge photomontages, some two dimensional and some three dimensional architectural structures, impressive from afar but urging the viewer to look closer into its depths where there are hidden meanings and unexpected scenes.

For example, one piece coloured with reds and greys resembling a pixelated version of a classic Persian rug from afar, when viewed closely exposes a multitude of gruesome images of animals being slaughtered. 

I am yet to visit many more of the exhibitions and events the ATM has on offer...

Meanwhile, I just caught the Rogue Artist Studios opening weekend on Saturday, regretting being so late as to only catch 45 minutes of a great selection of work. 

I was particularly inspired by the work of Liz West because of her use of colour and light combined:

The above image is a collection of everyday objects in a box surrounded by mirrors and a green light. Best seen in real life for its striking and sense inducing effects.


The below images are of  Michelle Pouncey's work. Working across a range of disciplines,  and seemingly multi-talented as her website shows, for the open studios event she displayed simple, texturally interesting pieces layering print pattern and shape.

Finally, an image of the last of the warmth and sun of the Indian summer creating beautiful views of light shining on the colours Autumn.

Here sits a proud Karam having made it to the top of the hill. (as did I of course, being the photographer!)

The Algarve: Sun, sea and a rich culture

My head buried in my thesis, I haven't been able to bare any extra writing, hence such as long gap since my last blog entry. However, I know that I should have been blogging to stop and reflect. I've had a bit of a break due to it all gettting a bit too much working a full time unfulflilling job, while trying to produce a quality piece of academic research the rest of the time (I am not continuing onto a PhD until I can find funding!)

Returning from a week in the Algarve, Portugal has left me feeling refreshed though, and after my employer offering me 6 weeks unpaid leave after I was about to hand in my resignation, I am free to focus fully on the thesis, knowing that I won't be homeless on the streets by the time its finished (especially since I have also just purchased a brand new laptop making my work and life a whole lot easier)

Camping near the quaint fishing town of Olhao, a stone's throw away from Faro, yet quiet and away from the tourist crowds was a perfect place to chill out in the sea air and searing sun (slightly too hot but much more preferable than the clouds and rain of England).

The market was bustling and thriving and full of fruit and veg stalls as well as a huge variety of fish in the old market hall. We ate tasty (but very fatty) and cheap churros while watching people and boats.

We spent lazy days on the long stretches of beach on the islands Armona and Culatra, just short boat rides away from Olhao.

A perfect opportunity to capture shots of fishing boats, aesthetic curiosities that I can't get enough photographs and drawings of. I love the random wellie stuck on a pole, I wonder where the other is...

Although I love continuously being outdoors while camping and the simpleness of it, we decided to treat ourselves to a hotel inland from the town of Tavira for the last couple of nights. It was situated further East of Olhao along the cost and nestled in the hills. Run by a very friendly and welcoming Argentinian couple, it was idylic in its setting, with a swimming pool, terrace restaurant and chic, comfortable, barn-like bedrooms. We even managed a game of tennis still sweating heavily in the soaring heat at 7pm.

Tavira, like Olaho is a historic town that once had strong trading links with North Africa and carries a strong Moorish influence. This could be seen in the richly tiled house fronts that seem to have been perfectly restored against the wearing window frames and doors that the floods of the winter cause.

One of my favourite attractions of Tavira was the Camera Obscura, built in a water tower in the old town centre. We were led in a group up to the top of the tower and into a chamber containing a huge white parabolic dish. The multi-lingual guide narrated very eloquently while projecting 360 degree images of real-time Tavira captured using a large mirror. The guide pointed out particular places and buildings of interest while telling stories of the town and zooming in and out according to the subject.

The Palacio de Galleria contained the municipal museum, a cool, quiet haven in the town where they showed an insightful exhibition of a photography family capturing the Algarve and its inhabitants through the centuries, as well as a painting exhibition by Spanish artist Luis Gordillo.

I also discovered a hidden gem and my new faavourite shop: Casa das Portas containing an eclectic collection of local hand-made products, art works and photography as well as collected objects from around the world. I admired the stitched quilts the owner had bought in Bangladesh and this sparked a conversation about our common love of fabrics from the subcontinent.

The friendly, relaxed atmosphere, the delicious meals of fresh fish and vegetables from the local market, the culture, architecture, and nature all made for a perfect break, and the Algarve has definitley sucked me in and captured my heart.

London calling

Have just returned from an inspiring trip to London. It was just what I needed, as a break away from the desk and the dizzying computer screen. A highlight of the trip was an exhibition at the V&A museum of childhood, and an exhibition it was holding curated by A Fine Line and The Harley Gallery.

'A sense of place' was a collection of works by several artists taking part in an exchange between the UK, India and Bangladesh. Their work reflected upon and was inspired by the new place in which they found themselves situated, a place very different from where they usually work. The artists were textile designer Lokesh Ghai (teacher at Kala Raksha Vidhyalaya in Kutch, India), rickshaw painter Tapan Das, paper artist Thurle Wright, metal artist Steven Follen and fine artist Tarun Ghosh

 This is Lokesh Ghai's work inspired by textiles at the V&A museum and the 19th century ballad Fair Charlotte. The ballad is a tragic, cautionary tale of a vein young women who sets out one cold, winter new year's eve with her lover to a ball. Despite the warnings and advice of her mother Charlotte discards blankets to wrap herself in for the journey in a sleigh, and travels only in a silk dress, bonnet and gloves, not daring to be seen in riding in 'blankets muffled up'. Charlotte gets colder and colder on the journey, and to her lover's and parents' dismay, before they reach the ball Charlotte freezes to death.

Lokesh has created garments that would suitably and stylishly keep Charlotte warm and prevent her untimely death.

 I loved Lokesh's treatment of beautifully printed and plain, Indian and English fabrics, their layering and stitching. Charlotte could not have refused such beautiful coats to compliment her ball gown and keep her warm

 Tapan Das is from a family of rickshaw painters from Dhaka, Bangladesh. The amazing artwork adorning these great methods of transport are a feast for the eyes. I think this country could do with some of Tapan Das's decorating to brighten up the drab greyness that we are surrounded by!

 While Tapan Das had an artist residency in Nottinghamshire and London, Thurle Wright travelled over to Dhaka in Bangladesh and Ahmedabad in Gujarat. The result was her unique paper cut works of art. She had collected images and texts out of all sorts of books and cut and sculpted the pieces combining with stitched and stuck objects and sequins to create intensely intricate masterpieces clearly inspired by India and Bangladesh's rich culture and arts.

The above detail of one of Wright's pieces reminded me both of an ear adorned with earrings, and the traditional mirrored embroideries of Gujarat.

 
                                    

Steven Follen who also travelled to Dhaka and Ahmedabad, created sculptural metal pieces, clearly inspired by the bright floral garlands that adorn the markets, streets and people all over India.

I haven't let the thesis take over all my time. Especially when the weather tempts me outside. The other day we cycled to Dunham Massey out in the Cheshire borders of Manchester. I had never been before, and not realised how easy it was to get to on a bike. We rode along the bridge water canal there, and along the trans penine trail back. I didn't take many photos, except for this one at the quaint tea shop we stopped at for a well earned tea and scone break

I love the colour combinations of the red brick of the old stables, bright blue of the sky and picnic table and lush summer green of the grass and trees.


I also finally made it to see the exhibition Embellished the art of fabulous fabrics  at the Harris museum in Preston just in time before it ended at Easter. Considering I'd heard raving reviews about it, and have been looking forward to seeing it for a while, it wasn't as impressive as I expected. I liked the idea of focusing on the decorative skill full detail added to garments worn in different periods of time and different cultures . However I thought they might focus on fabrics for the home and accessories too. There wasn't a great deal of variety, and the fact that textile pieces have to be displayed in dark glass cases, to conserve them, makes the viewer feel detached from a piece, unable to feel the luscious texture, and even look closely at the immense detail of an embroidery or weave, and rich colours and pattern of a print.

These were a few pieces I particularly liked though.

 This is a darning sampler from 1830. It is a reference for different darning techniques but makes for a decorative piece of work on its own.

 I didn't note down when or where this piece is from, but it is a tea cosy made of printed fabric that has been embroidered into.

This is a 'stomacher' a piece worn in the 1700s to decorate a dress. I had never heard of one of these before. Ladies would transfer these richly embellished pieces from one dress to another, almost like a piece of jewellery. I think we should have this as a trend nowadays too. It would save a lot of money, just as long as you've got a few white or plain coloured dresses. A belt piece or trimming might be more appropriate though...

I was actually more drawn to these Autobiographical Terrains that were displayed up the sweeping staircase of the gallery, than the exhibition I had travelled to the museum to see. They are etchings and artist's books by Lisa Wigham. I love her simple, delicate use of line that convey the dreamlike emotion of still, peaceful landscapes. These photos unfortunately do not do them justice as, like the textiles, they were displayed behind glass.

Fields, flowers and Easter feasts

I have left it far too long to write another blog post.

Stuck at home while everyone else is enjoying a sunny bank holiday, I have decided to force myself out of underneath the weight of my books and my never ending thesis and do some easier writing.

I can't really complain about missing out on the lovely weather. I was lucky to spend a whole Easter in the Yorkshire Dales basking in the warm hospitality of my aunt and uncle in their lovely country house. This involved strolling through the quiet picturesque countryside, indulging in my auntie's delicious home-cooked feasts of ham from their home-reared pigs, huge fruit filled pavlovas, fresh tasty salads and a whole manner of Easter cakes and treats, and of course the classic summer drinks of rose and pimms.

The wild flower ridden fields, peace and lush green of the surrounding hills provided a perfect break from the urban sprawl of Manchester and being stuck in front of a computer.

On the journey back, we were entertained by the array of scarecrows on display on the streets of the quaint village of Wray. They hold the scarecrow festival every year and the locals' creativity is leashed while creatin all sorts of characters out of all sorts of objects, some familiar. This year of course, there were many interpretations of the royal wedding. Unfortunately we couldn't stop, so I could only catch a tiny selection on my phone camera. This creepy looking giant lady was my favourite.

Block printing article for The Quilter

 I was pleased to see my piece on the wonders of block printing in Kachchh in The Quilter magazine this month, and I actually enjoyed reading it again!

Reflections on Mumbai

As usual I've been back home for a week now and while looking back through photos and videos I'm already wanting to be back in India.


Because I flew into Mumbai this time, I decided to spend a couple of days there to go to museums, galleries and meet people I had been e-mailing about my research. Unfortunately I hadn't planned it that well, as arriving early on a Saturday morning meant lots of places were closed. One of these places was Paramparik Karigar which I was really disappointed about missing out on. However I was lucky enough to receive a lot of help and contacts from Neela who works with Paramparik. I only wish I could have met her in person.


Neela told me about a block printing family working in busy central Mumbai, an area called Damar Galli. Safaraz Khatri and his father Ahmed Khatri or 'Pracheen' have been hand block printing with natural dyes for over 100 years. They are one of only a few block printing families left in Mumbai, as most move to the suburbs or to rural villages where there is a better supply of water.

I had seen many block printers in the rural villages of Kachchh and those surrounding Jaipur - Sanganeer and Bagru, all places famed for their distinctive block prints. It was really interesting to see some inner city block printing to compare it. I was surprised at how they managed to have enough water for the use of natural dyes being on the top floor of a block on a cramped side alley near Crawford market. They do manage though, and produce some stunning fabrics. Safaraz had spent some time learning from the renowned master Ajrakh block printer Ismail Mohammed in Ajrakhpur, as well as from his father.

They combine the traditional designs seen in Ajrakh with other familiar Indian motifs and patterns. These are often printed on silk and wool, a newly introduced fabric to block printing. These fabrics transform the look and colour of the patterns, making them more contemporary and luxurious.

These intricately printed patterned silks and wools were accompanied by contrasting fabrics of very contemporary bold painterly designs. Still using the natural dyes of deep indigo, henna, pomegranate and more, they were either painting on the dyes or printing with textured blocks.

I was fascinated by Safaraz's experimentation and innovation in creating daring completely new fabrics, but still making sure to hold true to his family's traditions by continuing with the distinctive, timeless patterns that India is so well known for.