(work in progress)
These works are in continuation of Shelly jyoti’s previous works ‘Indigo Narratives’ (2009-14) and ‘Salt: The Great March’ (2013-15)
This exhibition has two aims, one to touch upon the idea of swadharma towards nation and secondly explore a solution to uplift the rural population.
READ MORE ...
SALT: THE GREAT MARCH 2013-15 Re-Contextualising Azrakh Traditions in Contemporary Art and Craft
Overview:
Exploring salt as a symbol of non-violence and investigating the sarvodaya theory in the practice of nonviolence, tolerance, peace and harmony through the narratives of swadeshi politics, these works will draw upon the history of India’s colonial past and Mahatma Gandhi’s 1930 Dandi March, which began the Salt Satyagraha and became an important part of the Indian independence movement.
In her new series, ‘Salt: The Great march 2013’, artist Shelly Jyoti explores the possibilities of establishing alternative societies where Gandhian ideals of ‘swadharma’ and ‘sarvodaya’ could be adhered to and sustained with sincere implementation. In a society where patriarchal values threaten the free existence of women, the artist feels that re-introducing Gandhian ideals with critical changes would function as a correctional force.
In her new series, ‘Salt: The Great march 2013’, artist Shelly Jyoti explores the possibilities of establishing alternative societies where Gandhian ideals of ‘swadharma’ and ‘sarvodaya’ could be adhered to and sustained with sincere implementation. In a society where patriarchal values threaten the free existence of women, the artist feels that re-introducing Gandhian ideals with critical changes would function as a correctional force.
INDIGO NARRATIVES 2009 – 2013
Overview
“Not a chest of indigo reached England without being stained with human blood”, an Englishman in the Bengal Civil Service is said to have commented. In the 19th century, Bengal was the world’s biggest producer of indigo but today, the deep blue color of indigo is synthetically created in a lab and is associated, in the West, with blue jeans more than its torrid colonial past. But indigo holds a sustained presence in the post-colonial identity of India. Employing fair trade embroidery artisans from women’s collectives in India and executing their works in indigo blue, Indian artist Shelly Jyoti ‘s new works draw upon India’s history, narratives of immigration and transnational economic interchanges.
VASTRAM: SPLENDID WORLD OF INDIAN TEXTILES CURATED BY SHELLY JYOTI
A collection of Indian Council of Cultural Relations, New Delhi
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 colour, rich variety in designs and a dyeing technology which achieved a fastness of colour unrivaled in the world. Indian cottons had achieved global reach by trade dominating world’s textile market during the sixteenth century. As a curator of this show, I had proposed to categorize the collection of 37 traditional Indian textiles and a large site specific installation in three categories of painted printed, woven-non-woven,embroidery and embellishments . Further investigated 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 tradit
CARE PACKAGE : GROUP SHOW
Beyond batuaas 101 : Textiles as gift Containers’
While textile container may perform the practical function of holding, carrying and covering everyday items, they are also objects of creativity made with a designing and purposeful eye. ‘Beyond the Batuaas101’ celebrates the use of textiles as utilitarian containers on joyous occasions and gift giving practice. Symbolically, the exchange of ‘money envelopes’ occurs during all auspicious family events from illness until the last journey of death from generations in India. A contemporary dialogue of ‘Gift giving’ is an expression of universal love and a part of the unwritten social contract that embodies strong cultural, socio-political, and economic codings.
The hanging site specific investigates the manipulation of varied richly coloured textile envelopes at different height placement and explores the richness of silk brocade to heighten the visual effect.
The hanging site specific investigates the manipulation of varied richly coloured textile envelopes at different height placement and explores the richness of silk brocade to heighten the visual effect.
BEYOND MITHILA: EXPLORING THE DECORATIVE 2008-14
Introduction: Cultural theorist David Harvey believes that “Heritage is, in fact, not specific to the modern world but has always been with us. He sees it as human condition, and suggests that every society has relationship with past –“even those who have chosen to ignore it and it’s this relationship with the past that individuals and g
READ MORE ..
READ MORE ..
