STUDIO NEWS :OCTOBER 2015
‘Vastram-Splendid World of Textiles’
Curated by Shelly Jyoti
As part of the celebrations of the 60th year of India Oman diplomatic relations, the Embassy of India Muscat exhibits textile collection belonging to Indian Council of Cultural Relations ICCR, New Delhi. This textile exhibition further travels to Ethiopia, Turkey, Fiji and Nepal
Click to view select:Installation shots of the exhibits at Muscat Oman
Click to view select :Press & media
Site specific installation: Ajrakh: The Showers of Celebrations by Shelly Jyoti
PREVIEW: Thursday, October 15, 2015 Muscat, Oman
Introduction: Indian textiles were a principal commodity in the trade of the pre-industrial age and were prized for their fineness in weave, brilliance in color, rich variety in designs and a dyeing technology which achieved a fastness of color unrivaled in the world. Both material and textual evidence attests to the consumption of Indian cloth from Gujarat to Sindh, Egypt to Iran & Central Asia, other countries in the west Asia from as early as 11th century. By 15th Century, the export of cotton textiles to the markets in the Indian Ocean was on a large scale. From the 16th century Indian cottons achieved global reach by trade dominating world’s textile market.
‘Vastram’ collection features 37 traditional Indian textiles and a large site-specific installation in three categories of painted printed, woven-non-woven, embroidery and embellishments. The collection investigates the global influences on new materials, machine spun yarn for hand loom cotton and synthetic dyes for vegetable and mineral dyes.The role of Indian government after independence as how Indian textiles sustained with new techniques, technology introduction, research on documentation and yet conserving the traditions.
Click to view: The exhibit collection of VASTRAM
Medium: Mirror work on textile
Dimension: 77.5cm x 102.5cm
Source: Gujarat, India
Classification: Textile -Embroidery
Accession No :5/MGC(I)/13-T.E
Dimension: 130cm x 79cm
Source: Kashmir, India
ClassificaIon: woven, Rug
Exhibition venues :
Muscat , Oman
Mekong Ganga Cooperation Asian Traditional Textiles Museum
Avenue 60m, Boeung Doun Pa, Sangkat Slorkram,
Siem Reap City , 17251
Miniature Artworks by Shelly jyoti as permanent exhibits at International Lincoln Centre, Louisana State University , Shreveport,USA
More info on below links:
These artworks were created for a paper titled ‘Lincoln, Gandhi and Obama: A Creative visual dialogue in Miniature painting style’By Shelly Jyoti . Presented at The ATWS( Association of Third World Studies )conference IIT Chennai 2013
Ajrakh-Celebrating a Textile Tradition by Shelly Jyoti For Namaste Magazine by ITC Hotels publication-Jodhpur issue 2015
Click to read: Ajrakh-Celebrating a Textile Tradition by Shelly Jyoti
XVII International Conference, Goa 21-24 December 2014 Venue: International Centre, Goa SALT-A COLONIAL METAPHOR: RELEVANCE TODAY VERBAL, VISUAL AND NEW ART MEDIA By Shelly Jyoti Delhi based Artist, Poet and an Independent curator
Abstract :My paper is an attempt to theorize my own artwork ‘Salt: The Great March 2013-14’ series I& II- A visual Art project. The Salt March series explore salt as a symbol of non-violence. The project is inspired by the Gandhi’s theory of satyagrah- a challenge to ones own truth with stress on self-purification, self-examination and self-assessment. Satyagrah stimulates our conscience and soul searching for the upliftment of all (sarvodaya). The “Salt” series explore khadi as a contemporary social movement visualized through art and traditional craft traditions and processes, seeking out the possibilities of bringing the khadi spirit into our daily lives. If by spinning, weaving and wearing khadi, can the commitment to individual action bring about a sense of pride in our nation in the 21st century? Can such an action bring about nationalistic feeling and significant changes in our society? The “Salt” series is a continuation of my earlier series, ‘Indigo Narratives (2008-14) that were inspired by an anti-colonial, nonviolence movement that took place in 1917-18 and also Gandhi’s first non-violence protest ‘champaran’ movement for indigo farmers in India. The works feature site-specific khadi fabric installations including clothing, 40 artworks utilizing Ajarkh textile traditions on khadi fabric and spoken poetry video film. To draw from ‘Parapolitics: Toward the City of Man’, can modern societies become genuine moral communities? According to Gandhi, they can. Gandhi’s vision of a Sarvodayan society is embryonic, but nonetheless engaging and stimulating explaining swadharma for individuals defining traditions and duty clearly. These works have been exhibited at IGNCA (Indira Gandhi National Centre for Arts) New Delhi (Sept-Oct 2013):India International Centre, New Delhi (September 2014): The Museum Dakshin Chitra, Chennai (Oct -Nov2014) Lectures of the above at IGNCA New Delhi , Lalit kala Academy , Chennai, Apparao Galleries Chennai, New Delhi 2013-14 Scheduled venues: Baroda (2015): Gandhi memorial Centre Washington Dc 2015.
click here :https://www.youtube.com/watch?v=WXl8bgjmA7Y
SALT: THE GREAT MARCH 2013 (A VISUAL ART PROJECT)
“Lincoln, Gandhi and Obama: A Creative visual dialogue in Miniature painting style”
By Shelly Jyoti Artist, Designer, Poet and an independent curator
View the full 23 min lecture at The ATWS conference IIT Chennai
Video credits: Dr Kehbuma Langmia
Image : ‘Lincoln ,Gandhi and Obama: A visual Dialogue’,Gouache on wasli paper,11×8 inches, 2013
Association of Third World Studies (ATWS)
31st Annual International Conference
28-30 December 2013
Venue: Indian Institute of Technology Madras (IIT Madras)
Erik H. Erikson records in his book “Gandhi’s Truths” that when Mahatma Gandhi met with the British viceroy in 1930 after the Indian salt protest campaign, Gandhi took some duty-free salt from his shawl and said with a smile that the salt should ” remind you of the famous Boston Tea Party’.
From the Boston Tea Party to Gandhi’s Salt March, struggles over economic issues have historically had great importance in anticolonial movements. This artwork has multiple parallels and references of Boston Tea party, blue pottery from china and Obama’s self-confessed wisdom derived from Lincoln and Gandhi.
Abstract: Using a visual language , I am exploring within my recent artwork titled ‘Lincoln ,Gandhi and Obama: A visual dialogue’(2013) the commonalities between legends Lincoln and Gandhi, the two great political leaders of their times who fought for the freedom of their countrymen . Further they both have been personal mentors and inspiration to Obama . I am attempting to create the imagery in Persian miniature art form engaging by weaving a dialogue between Lincoln, Gandhi and Obama . As a contemporary artist, my works are centred on historical iconographic elements within the cultural context of Indian history. I explore and construct the hermeneutics of period histories, its contemporary representation of socio-economic and political inquiry within my art practice. This artwork is an extension of my previous projects ‘Salt: The Great March’(2013) and ‘Indigo Narratives’(2009-13) which examined Gandhiji’s involvement in freedom struggle as an anti-colonial resistant movements.
My paper would explore in facilitating a visual dialogue and also investigating the technique of traditional miniature artwork that originated from Persia and came in India through Mughals and still prevent in India in different styles.
‘Lincoln, Gandhi and Obama: A visual dialogue’(2013) series of artworks will be discussed by Mandakini V Jha(Dept of Sociology M.S university Baroda)in her paper titled “A Painting on Lincoln: Sociological Theory , Art and Artists”