Read on as we take you through a virtual walk through of our uber cool Dastkar Bazaar Bangalore 2021 Experience...
Happy Reading :)
Dastkar Bazaars are an initiative by the Dastkar NGO, a society for Crafts & Craftspeople. Established circa 1981, the organisation has been consistently channelling efforts towards providing a sustainable livelihood to the rich & diverse Indian crafts community by bridging the gap between urban consumers and rural craftsmen through their specialised consulting, resource providing and product design interventions, thereby making the rich Indian craft heritage not only more accessible, but also more contemporarized to suit the likeness, aesthetics and needs of the urban Indians as well as International consumers and Buyers.
The various artisan support programmes and trainings offered by the organisation, in collaboration with other non-government, government and foreign institutions across various aspects of running a sustainable business right from skill upgradation and product innovation to marketing, merchandizing and pricing of their products; have significantly impacted the livelihoods of many artisan families (close to 1 Lakh families) by connecting them directly to their audience without the interference of any middlemen, enabling a fair-trade, and a consistent income generation. These interventions have also brought about a successful revival of certain languishing craft forms for instance, the craft of Copper Bell Making and Dhokhra. As part of their American Express collaboration, they have been able to fund an Afghan Refugee artisan community comprising about a 100 Afghani women artisans based off of Delhi, at a point where their livelihoods had been severely impacted during the Pandemic to the core.
Recently Dastkar expanded their e-commerce platform, and launched www.handsondastkar.com which has made these rich traditional handicrafts all the more accessible both nationally and internationally all year round!
Their recent Bangalore Edition, spanning over 10 days; with a curation of some of the most unique and varied Indian craft forms; was an experience in itself, replete with live craft demonstrations & workshops being offered by the artisans themselves coupled with folk performances and a taste-tickling selection of traditional Indian cuisines - Daal Baati Churma, Kulhad wali Chai, Dabeli, Moong Dal Halwa and many more lip-smacking Indian delicacies to relish.
Watch the Copper Bells being payed at the fair by the artisan here,
Some of the crafts that formed the highlight of the bazaar included Sola Flower Craft, Terracotta wares, Glass crafts; Gond, Pattachitra & Kalighat paintings; Bagh and Ajrakh prints; Kashmiri Soof & Aari Embroidered clothing; Jaipur & Kurja Pottery; Stone Pottery; Bhujodi Shawls; Handicrafts by the Afghani refugee community; Copper Bells & Dhokhra Art; Wood, Shell, Sabai grass, Moonj and Bamboo handicrafts and a few stalls by the contemporary design studios and designers that are working with the crafts & the craft communities bringing about novel modern interventions.
Follow this Link to witness the Copper Bell Craft Process
During the course of its 10 day showcase, we ended up visiting twice, just to soak it all in! The way we’d like to narrate the entire experiential vibe is; ’Back to Basics - Redefined’. The curation was traditional to the core, but the slowness and quintessence of it somehow seemed to subtly grow on us, almost as if that was just what we needed in our contemporary urban lifestyle; making the products and crafts invested in, (purposely not saying, ‘purchased/bought’) much more than just mere commodities. We were so enthralled by the showcase and the cause, that the two visits ended up being quite a binge for us, and we picked up an assortment of these lovely handicrafts for us and for our families.
Our Day 1 binge comprised primarily the Black Stone Pottery from Manipur, which is just as unique as it sounds, and was the major chunk of what we invested in. Another unique find for the day comprised a DIY Craft Kit for Tholu Bommalata Craft from Andhra Pradesh that we picked up from a wide array of many such kits offering several other traditional Indian craft variations. Take a look at the HUGE assortment of these at the fair...
With the DIY Culture at an all time high, these interactive kits in our opinion, are by far one of ‘the’ most enticing and ingenious interventions of contemporary design studios in the craft sector, one that is very well suited towards creating an awareness as well as developing a sensibility and appreciation towards our traditional Indian Crafts heritage amidst the contemporary urban audience aka, “Millennials”, especially young children. We also grabbed a couple of super cool Neem Wood Pencils!
Moving on to our second trip to the event, one of the key reasons for our Day-2 trip to the fair was because of a quirky new product that got added to the curation a couple of days later, the ZENZULA! This was the first time ever that I saw this fun little “Musical Device”, and both, the design as well as the mechanics of it were so so compelling that we ended up taking the 20Km. (40 Km if you account both ways), aka, 1hr 45min (by Bangalore standards) Uber ride yet again, to Jayamahal Palace in the mighty Bangalore traffic in the scorching heat! (For those who might be unaware as to the gravity of this; I kid you not guys; this does take a fair bit of motivation! Ask any Bangalorean…)
Devanshu has always had a thing for musical instruments. He has had a bit of a dedicated training in playing Tabla & Casio back in the day. As for me, I have had a few hobby level classes for Casio in my early teens, but never really got to pursue it thereafter. So when we saw this on Dastkar’s social media Story, our first thought was “How did we miss this whilst we were there?”. Then we zoomed in on the screenshot to figure the location of it, and that is when we concluded that it was a new addition to the event, and one that we’d like to experience in person. What captivated us in ZenZula, above all other aspects, was the sheer ease of playing it and a quick look through their Instagram profile, gave an impression that even if one had a ‘certified zero’ affinity for musical instruments of any kind, it would still ingeniously sound melodious even in their hands! And… As it turns out, that’s exactly how it is!
Watch us have a go at the ZenZula for the first time here...
So our Day-2 picks comprised ZenZula (for obvious reasons of course!), two more DIY craft kits, one being ‘Block Print your own Dupatta’ Kit and the other, an interactive Block print Kit inspired from one of the Panchtantra Tales.
We also grabbed a few very realistic looking Sola Flowers, a little Glass pendant, a couple of Khurja pottery pieces, and a very unique little pendant lampshade, from one of the craftspeople from Bihar, that has a lovely hand punched design on what happens to be a dried, hollowed-out Bottle Gourd Shell! (Yessss! You read that correct. Bottle Gourd Shell Lampshade - I mean how creative can one really get ?? And wait till you guys scroll down to the image of it; trust me, you wouldn’t believe that its not leather, even now, when you know it isn’t for sure!)
There was a sizeable display of Khurja Pottery spread on the ground. One literally had to hop through the narrow meanders between the pottery matrix to scout for pieces from the entire ceramic bunch. Well, this was my first time shopping for these in such a 'format' :D and the scorching sun certainly did not make this any easier.
After countless tos & fros through the display, we managed to pick a couple of platters and large bowls (...Pfffff...) . The beautiful abstract glaze patterns made each of pieces absolutely unique, almost like an abstract art piece, which made it even harder to choose! ( I mean just look at these! )
However, one of the aspects that we found out was that, since Khurja Pottery units are commissioned by a lot of retail brands, both in India and abroad for productions of their own designs, most of the pieces that they showcase at these fairs are overruns and/or 'rejects' from these productions.
A major portion of the pieces on display comprised the ones, that owing to minor irregularities/defects had been declined by these brands, and perhaps that could have accounted for the discounted pricing. Nevertheless, unless cracked, these are mostly cosmetic level irregularities for instance, glaze not reaching the base, trapped air bubbles/minor bumps here & there etc.; that are not likely to hinder the product performance as such, hence, are worth the discounted price that was a 'Steal Deal' compared to the pricing for similar designs on the retail market.
(I have highlighted the minor defects in some of the pieces that we picked up for ourselves in some of the images below. Take a look!)
And… Of course, with the multiple rounds that we made through the entire showcase, we had a legit excuse to hog on some of the great food there. So on both the days, a sumptuous Rajasthani Thali (A Platter with Cuisine from Rajasthan) and Kulhad Wali Chai (Classic Indian Style Tea in Terracotta cups) were our go to, simply because the platter was - in one word - YUMMILICIOUS and Chai, because ‘India runs on Chai’ :D Period! Isn’t it?
Okay, so not to make you guys drool, but when we say Thali in our country, isn’t it kind of a mandate to mention all the dishes in it? It is, right? So just for the sake of this ‘protocol’ :) I am listing what all was in it, with a little disclaimer that, any drooling, mouth-watering/craving effects that this may lead to, are purely co—incidental (Heee! Heee!) Here I go - Daal-Baati, Choorma Laddoo, Kadhi, Missi Roti, Ker-Sangri, Lehsun Chutney, Gattey-Ki-Subzi and Daal. It was absolutely hunger quenching and taste tickling in every way (The images bear witness to how much we enjoyed the thali, given the number of odd angles that we were trying to fit the entire platter in our selfie). We also grabbed a couple of packs of Paapads and a bag of Kairi (Mango) Candies to munch on later!
Here’s a picture gallery, rather a visual treat for you guys to re-live a virtual experience of the Dastkar Bazaar Bangalore Showcase through our lens. I have also added in a few extra details and a couple of helpful links further on, for the benefit of those who might like to know more about them :)
Also known as the Longpi Pottery or Loree Hamlei, after the small hilly village called Longpi / Loree in Manipur; this is an age old tribal craft form practiced by the Thangkul Naga tribe of Manipur. In recent years, these eclectic utensils with an amazing matte / satiny, smokey / charcoal toned surface finish resembling wrought iron texture, have found an increasing popularity amongst the international audience from countries like Sweden, United States and Germany.
This rustic, minimalistic pottery, in the words of Presley; the artisan who was showcasing at the Dastkar fair; is unconventional & one-of-a-kind, because unlike traditional clay pottery that is thrown on the wheel, this pottery is fashioned by shaping the articles with hands and unique moulds without the potter’s wheel. The raw material for this craft form is made by grinding two stones - Weathered Rock & Black Serpentine Stone, found abundantly along the banks of the Longpi river, into fine dark brown powder, which is then kneaded with water and rolled out into mouldable slab forms on wooden boards. These slabs are then further shaped by hands and moulds into desired shapes that once dried, are fired at about 900 -1200 degree centigrade in kilns where the clay gets baked for around 7 hours. Post baking, these pieces are burnished/polished by hands, by rubbing them with a leaf, locally known as ‘Machee’ (Pasania pachyphylla), that imparts this clay its characteristic 'Cast Iron-like' texture and finish.
The functional wares include Kettles, Mugs, Tea-cups, Woks, Serving platters, Oil Lamps, Bowls, Pans and an assortment of storage containers. These are entirely biodegradable, and can be safely used on gas stoves, microwaves and firewood. These are dishwasher and refrigerator safe. Occasionally, fine cane lacing is added in some pieces, as an accent design feature, those are then not recommended for microwave and dishwasher usage. These stone cookwares take a bit longer to heat-up, but once heated, retain heat for much longer than traditional metal cookwares, and hence are great for slow cooking and brewing Lentils, Soups and Curries. Also, these are more resilient to breakage compared to clay pottery/ceramics.
As Presley mentioned, no electricity or machines are used anywhere in the making process, which makes this craft practice quite labour intensive, one reason why the present generation is apprehensive of taking this craft legacy further. The procuring of stones for grinding involves a 20km walk from the river banks. These are collected and transported by women, in cane baskets strapped over their heads. Presently this craft is being practiced majorly by aged women from the Thangkul tribe. Presley’s venture supports around 11 women artisans from the community who are into fashioning Longpi Pottery.
I have personally tried out the wide-mouthed mugs with a stamped design detail & cane laced handles for soups (Price @ Dastkar INR 650/- a piece), and as far as my first impressions go, not only do they look super earthy and tastefully rustic as an addition to my mug collection, they are light-weight and also super convenient to use.
The size of these mugs is perfect to hold a filling quantity of broth and the soup stayed fairly warm till we finished it. In the beginning, I felt as though cleaning these might not be easy, but turns out, it was just as easy as any usual utensil, so Bingo points for that! This was my first time using these and I cannot be more satisfied. Look forward to having more soup in these :)
Tholu Bommalu or Tholu Bommalata, the leather shadow puppetry craft from Andhra Pradesh, is the perfect example of the ultra rich legacy of traditional Indian art forms. This craft is considered to date back to the very ancient times; as old as the 3rd century BC; with its origins rooted in the era of the Satvahana Dynasty. It is believed that the traditional Leather puppetry Craft of Andhra, was at its pinnacle during the glorious age of the Vijayanagara empire in the12th Century BC; and to make it easier to relate for those who might not know, this was the famous Tenaliraman's time (Yesss, that ancient! Isn't it beyond remarkable how this craft managed to reach 21st Century AD!)
This craft form, is the true embodiment of the folk culture of the state of Andhra Pradesh. Tholu in Telugu translates to ‘leather’ while Bommalu or Bommalata means ‘dolls’.
This craft is being practiced primarily by the Marathi Balija community. Few families in the small village of Nimmalakunta in Anantpur district of Andhra Pradesh are still engaged this craft practice. Tholu Bommalata is not just one craft, but essentially an entire Indian folk theatre culture in itself, that happens to be a spectacular integration of several age old art practices of painting, puppetry, music and story telling.
The base material for crafting these puppets is leather. Traditionally the leather obtained from Antelope, Spotted Deer and Goat-hide are among the most preferred bases for this craft. Earlier antelope leather was used for fashioning the important heroic characters, while the sturdier deerskin for the more aggressive, fighter character representations.
Presently, goat-hide is being used for crafting all the characters in addition to being used for fashioning props and accessories for them.
Traditionally vegetable derived colors were used for painting the puppets, but now-a-days, readily available waterproof photo inks are used. The finer detailing in these puppets is entirely handpainted, using water-proof inks, fine tipped bamboo pens and brushes by the ‘chitrakarula’ community, also known as ‘Charmchitrakars’ (‘Charm’ in Hindi means leather and ‘Chitrakar’ means artist).
Both sides of the leather are painted for the maximum impact using bright contrasting colours, red, blue, green, yellow, orange with finer detail work in black. Post painting, the different body pieces are assembled together, by stringing them in a unique manner using thin wooden sticks, so as to allow for easy mobility while manoeuvring during the performances, and this is when the entire large ‘caricature puppet’ comes to life. Average height ranges between 3ft. to 6ft.
One of the most characteristic features of these puppets are the tiny hand-punched perforations throughout the painted surface that create a dramatic, almost jewel-like, chiaroscuro impact; aka, play of light & shadow; as these are backlit during the performance. Since the leather sheets prepared as bases are translucent and super thin, almost parchment like; in my opinion, these perforations also impart a functional stability to the otherwise prone to curling leather bases by keeping them taut while stringing.
With the stage all set, as the Tholu Bommalata performance comes together, behind a back-lit, stretched fabric screen - it is a sight to behold, and an experience to be lived. The key themes and characters are inspired from the mythological stories from the Mahabharata and Ramayana. With the traditional musical instruments such as Dholak and Sarangi setting the tone and cymbals chiming in, the singers and storytellers known as ‘Bhats’ start the melodious narration, while the master puppeteers manoeuver these majestic, almost life size puppets behind the veil. This truly is a one-of-a-kind theatre experience, not to be missed, if you have a chance to witness one. Click here for a virtual Tholu Bommalata craft experience!
Presently the Tholu puppeteers have begun diversifying their art into contemporary lifestyle products for instance partition screens, wall decoratives, door hangings/ornaments, vases and lampshades, that are not only more suited to modern urban living, but are also much more cost inclusive.
The Tholu Bommalata DIY Kit that we got, has a few drawing templates, about 5-6 designs, with small goat hide pieces (reclaimed from the discarded skins from the butcher shops), inks, a bamboo tip and a paintbrush. This is a great little offering to experience this craft at a starter level.
This Kit essentially is an ornament set, and once painted, these shapes can be cut and strung as a banner/Door Hanging or as a mobile or can even be strung as individual pieces. We are super eager to try these out soon.
However, my one bit to this is that, I would have loved a DIY variant for this craft, with miniature puppet making inclusions and an easy step by step set of instructions for the puppet assembly to make this even more interesting while also imparting a closer experience about the actual Tholu puppet making craft.
Having said that, we are soon going to be trying this Kit out, and I am not sure, but how about having a little 'Insta' face-off between I & Devanshu while we are at it ;) (As maybe an Instagram Live or a Pre recorded process?)
Let me know your thoughts in the comments below! :)
It was undoubtedly an amazingly refreshing and an immensely enriching experience for us.
All precautions in lieu of covid were in place in accordance with government norms, with regular centralised announcements for wearing masks and maintaining distancing. The fact that the craftsmen from humble villages were accepting online payments via Google Pay, Paytm and bank transfers, was both comforting as well as heartwarming to witness (Well, the recent pandemic has indeed brought about some of the most profound changes in the lives of the entire human race, changes of the kind that until a year ago were unfathomable)! There was also a centralised card swipe facility in case of any troubles while using other online channels for transacting, to ensure a smooth shopping experience.
The incredibly rich cultural heritage that our country has in the form of our craft traditions is undeniably one of the most sought after examples of not just absolute deft hand skills, but also of ultimate creative expression and story telling.
On exploring deeper, you’ll find that most of these craft traditions date back to centuries and, in addition to the crafter’s hands and imagination, almost all of them employ some of the most basic and simplest of the tools known to mankind. Believe it or not, it is this humbleness and simplicity of expression, in terms of the tools and equipment, and the perseverance and dedication that it calls for when working with bare hands for most part of the processes, that makes these handcrafted gems incredibly unique and captivating. In each craft form, every phase throughout its entire making journey; right from the initial thought, all the way through the essential preliminary preps leading to the actual execution; breathes life into these creations and makes them so imploring. The fantastical creative naivety, achieved by the ingenious usage of expert hand skills and creative story-telling by the artisans, has its own unique, almost transcendental energy that gently resonates through.
Going forward, I wish to try to be more mindful of what I consume and also of the little ways in which I can do my bit to be more inclusive towards our traditional art forms in my day to day routine as well as in and through my art practice. The plethora of vibrant Indian crafts are an integral element that is absolutely indispensable to the distinctive nation that we are.
The continuance of these craft forms is a big question, unless our generation and the ones that follow, embrace these as part of their lifestyles and are willing to contribute towards the cause in whichever way they can. It’s not always only the ‘buying’ in traditional terms that matters, even spreading the word and awareness around, helping/promoting the artisans through your platforms, and developing a sensibility and appreciation towards our traditional arts heritage, also count, and can have a huge &a lasting impact. Since the know how of several of these craft forms have been passed down as family traditions over many generations in most artisan communities, with their current generation opting out of family occupations owing to lack of demand and a consistent income generation, ensuring the sustenance of this rich heritage becomes of paramount importance in order to avoid it from getting lost forever.
On that note, I’ll sign-off for now…
Hope you guys enjoyed this virtual walk-through of the Dastkar Exhibition in Bangalore and also got to know about some of the beautiful Indian traditional craft practices.
Would love to hear your thoughts in the comments below :)
Please feel free to share this post among your friends/family or anyone you may know, who is likely to be interested towards such a cause.
You are welcome to leave any suggestions/ideas in the comments below, for the kind of content you’d like to see from us in the future :) !
In case of any queries, please do not hesitate to reach out via Comments/Email. Would be happy to help any way we can!
Until next time…
Ciao!
Take Care,
Love,
A&D
(Aalie & Devanshu)
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Helpful Links if you'd like to know more...
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Q1. What motivated you to start 17thartstreet.com?
Aalie: In all honesty, I had never thought of starting a venture of my own (and people close to me can vouch for that) ! I always visualised myself as a design professional working in a design house or with a lifestyle brand.
However, in 2016, as they say, life happened, and it happened like an un-forecasted ‘thunder strike’, catching both me and people close to me completely off-guard, when things took an unexpected course in my career. After battling a seemingly endless rut of dejection and disappointment; undergoing nothing short of a renaissance; it took every ounce of my will-power to try for a rebound and most importantly, to re-invent myself.
Through such trying times, the only one I could rely on to pull me out was my-own-self and, the only things that I could think of doing to get myself back on my feet were those, that I could majorly do all by myself with as minimal reliance on anyone else as possible.
That is when my childhood passion for ‘making art’ re-surfaced. It wouldn’t even be the slightest exaggeration, to say that by way of self-teaching and “Making” Fluid-art, I truly re-discovered myself. That indeed was my ‘renaissance’ moment, the one that reinstated my self confidence, that I have always had ever since I was a kid, but; that had gone missing in that span of; as I like to call it; ‘The Dark Times’, with no pun intended.
So, post two years of recovery, trashing off of umpteen ideas and an endless amount of researching into the art skill, 17th Art Street by Aalie Tandon came into being in 2018.
Fast forwarding to today, what truly motivates us as a label to continue and build are our precious clients and patrons. It is a source of utmost satisfaction, to see our underlying philosophy, ‘A Thing of Beauty is joy forever’ resonating with our connoisseurs in the form of accolades and compliments that they garner or, when they appreciate our work, expressing how our creations exude an aura of beauty, joy & positivity. The little sublime sense of happiness and bliss that our art is able to infuse in their lives, is what makes what we do all the more worthwhile, keeping us all charged, every morning, when we enter our atelier.
Q2. How has the NID/NIFT experience helped you in your venture?
Aalie: I did my Bachelors in Textile Design from NIFT Delhi and Masters in Apparel Design from NID. I feel extremely fortunate to have had the opportunity to receive my design education from two of the most prestigious design institutes in India, and more so, for having few of the most amazing mentors along the way.
NIFT & NID have been much more than just a critical influence towards shaping my approach not only as a skilled designer, but also, as a holistic & a responsible creative professional.
What my alma maters taught me essentially was how to be a truly responsible professional and the importance of how immensely impactful and meaningful could a designer’s role be, towards fostering and inspiring new perceptions & expressions. They encouraged liberal thinking and reasoning, mindfully exploring newer dimensions and having an empathy; some of the crucial aspects leading to a good and meaningful creative outcome, that goes beyond just being a ‘pretty piece of design’ (or Art in our case).
Over and above the core design courses offered, the micro learnings from the plethora of little capsular modules about lateral, but absolutely integral aspects, pertaining to the business of design are, what I feel, coming in extremely handy, perhaps almost as much as the focal hands-on design courses.
All these learnings largely define, rather embody, not only how I approach various aspects of my venture, but also my entire brand experience offering as a whole. Right from planning the concept & execution, to understanding & translating the client’s vision, looking for right vendors, planning promotional creatives, styling the photoshoot, handling client queries, building client relations, product presentation & packaging, etc etc etc… (a million other responsibilities to handle) to name a few; I feel the approach and the thought would never have been the same, had I not been a part of this fraternity.
So all in all, it is all those essays & research project documentations, guest speaker sessions, case study analyses, IPR & POM presentations, and capsular photography sessions to name a few of the many more, that made the entire NIFT and NID experience immensely enriching and value packed for me, not forgetting the brilliant mentorship of my tutors that made the entire training all the more worthwhile.
Q3. Describe the genesis of 17thartstreet.com.
Aalie: 17th Art Street by Aalie Tandon was essentially born in 2018, out of the need to regain my lost footing and to bring my life back on track as I had always envisioned it to be. My background in design, keenness for art and a love affair with colours led to organically start this venture.
I have always loved the process of making/crafting with my hands and have forever been both; immensely attracted to and fascinated about, combining different textures and elements, exploring unique colour combinations and looking into ways for incorporating as much detailing into my design concepts as possible, which also characterises 17th Art Street’s signature style.
I have always loved the process of making/crafting with my hands and have forever been both; immensely attracted to and fascinated about, combining different textures and elements,.......... Continue Reading...
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]]>I hail from the quaint town of Lucknow and I have a Textile & Fashion background with a Degree in Textile Design from NIFT and a Masters in Apparel Design from NID... I am quite a nerd when it comes to a skill or a process based anything in general that spikes my interest and until I find my answers,...
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Today on the blog, we feature Bangalore based, fluid-artist & Resin-crafter, Aalie Tandon; she is also the Founder of 17th Art Street by Aalie Tandon which she runs with her unofficial integral partner & Co-Founder, Devanshu Dugar.
Tell us a bit about yourself
I hail from the quaint town of Lucknow and I have a Textile & Fashion background with a Degree in Textile Design from NIFT and a Masters in Apparel Design from NID.
I am extremely fascinated by stories both real and imaginary. Often, I get so engrossed while reading or watching them that it is almost as if I am living that story for real. I am quite a nerd when it comes to a skill or a process based anything in general that spikes my interest and until I find my answers, or just get that curvature right to my liking, I cannot be rested. Sophisticated rawness in the nature is what inspires me. I feel the brilliantly executed authenticity and richness in the raw nature around us, is something that is replete with endless possibilities. It is quite likely, that because of this very reason; though it might sound unheard of; I almost never run out of inspirations. In fact, very often; practically all the time; I find my mind overflowing with so many inspirations that I literally have to lucky-draw one, to get started ‘unbiasedly’, since all of those are so so creatively compelling, and for me, this is the real challenge. Eclectic interpretations whilst combining natural bits with man-made ones, coalesced through extensive amounts of detailing, colour, texture and material mixing, is something that marks my signature style.
My unofficial integral partner, Devanshu, who also happens to be my much better half, and the vital support system for 17th Art Street; is the one who essentially takes care of everything else that is quite crucial to enable me be the Maker. Managing a full time job that majorly supports us, to helping me in all the paper work and technical stuff, be it our website, taxes or even regular chores, he is the engine that keeps 17th Art Street running. He also happens to be a very finicky critic and even though this might make me cringe at times, but it surely has contributed significantly towards constant improvisation in my art practice.
Why did you become a maker?
I have always been a maker, right from my formative years, when I was literally crafting all kinds of makings, aka modern day DIY, right from simple water colour paintings to sand crafting, clay modelling, jewellery making, flower making, embroidery, etc etc all the way through my professional education, where I acquired a more sophisticated, industry-standard crafting & making know-how.
So making and crafting with my hands is something that comes quite naturally to me. In fact making something by myself, on most occasions, happens to be the first and the most dependable options that I rely on, rather prefer. For something as simple as wrapping a present, even if there is enough time for me to get it wrapped from the store, I still prefer doing it by myself, adding a few personal touches here & there.
Why is making so important to you?
Sometime back, when life happened, it happened like an unpredictable thunder strike, catching me and people close to me, completely off-guard. It was as if my entire philosophy of life, up until then, professional as well as personal, was thrown off the window. I was in a state of seemingly endless rut for quite a while and it took every ounce of my will-power to try and rebound and more importantly, to re-invent myself. That was a time when, if it wouldn’t even be the last thing to go wrong, it still and surely would. In such a trying time, the only one I could rely on to pull me out was my-own-self and, the only things that I could think of doing to get myself back on my feet, were those, that I could majorly do all by myself with as minimal reliance on anyone else as possible. That is when my childhood passion for ‘making art’ re-surfaced and it wouldn’t be even the slightest exaggeration, to say that it was then indeed, that I truly re-discovered myself by way of self-teaching and “Making” Fluid-art. That truly was my ‘renaissance’ moment, the one that reinstated my self confidence, that I have always had ever since I was a kid, but, that had gone missing in that span of, as I like to call it, ‘The Dark Times’, with no pun intended.
“Making” by way of self teaching; since I am not an artist with a professional training in art per-say; is what has given my life a new meaning, more aptly, a new beginning. Since, within me, all that while, was a literal cacophony of emotions and expressions, making Fluid-art, better known as paint-pouring; as the name suggests, literally gave a vent to let those pour over and spill through, which was a much needed respite. Perhaps because I know how it felt, when at a personal front nothing seemed to be going as per ‘my’ plan, there is a rather magnified abstract sense of ‘vibe manifestation’, I have come to consciously believe in, and that perhaps is why I also like to incorporate healing crystals in most of my artworks to resonate therapeutic energies.
How did you begin & how has your business evolved over the years ?
In conjunction to what I talked about why making is so important to me; even though, the very idea behind starting ‘making’ by myself was to regain my lost footing and to re-invent myself; it did take a little while for the manifestation to seep in, .............................. Continue Reading...
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]]>Hello! Hola! Ni-hao!
I am so glad to have you here and extremely excited to take you with me on my making journey for this unique handcrafted 'Flower& Spice' handcrafted Pendant Necklace collection, using dried exotic Indian spices and herbs. Hope you get as immersed reading this, as I did while making it...
Bon Voyage :)
( Also, because I value your time just as much as mine, it is important to mention- this post is the story about my making journey for the Flower & Spice collection... not a resin art tutorial per-say :-).
However, if at all you happen to be a practicing resin artist or an aspiring one, you surely will have at least 3-4 useful resin-art tips up your sleeve, after reading this post :-) .....
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Let me start with a little back story that led to this incredibly challenging, though creatively hugely satisfying jewelry project...
As an abstract fluid-artist and an artisanal jewellery designer and maker, my brain is constantly conjuring up unique concepts and ideas that can be translated into one-off creations. On an otherwise ordinary day in 2019, that started with a usual, bright & busy morning; while preparing breakfast; 'Sautéed Mushroom Toast' to be specific; the sizzling aroma of carom and sesame, I am dead sure, went straight to my head !!
Almost instantly my brain was 'intoxicated' with the probability of encasing dried spices using Epoxy, which is the staple medium in my art practice. The intoxication was so potent, that I remember almost hallucinating, (exaggerating justttt a taddd bit :D ), about the endless creative possibilities that could be explored using the rich repertoire of exotic Indian spices, with their beautiful earthy colours, unique shapes, and textures.
While the sautéing was still on.. my dazed brain started recollecting the names of all kinds of probable spices that I had ever seen, used, known, read, or heard of! I remember as a child; long before the mighty 'Google' was born... my parents had got me several of those 'world picture books', the kinds that have beautiful illustrations of all kinds of exotic fruits, veggies, animals, costumes etc.
I had always been fascinated with these even as a 5-year-old, primarily I guess for two key reasons; one, the beautiful detailing in those illustrations was quite eye-catching to a kid's fancy, and the other being; in those days, and I am talking about the 1995 era; there were only certain 'regular' kinds of fruits and veggies available in the local markets in Lucknow that were frequented by my family.
Broccoli, purple cabbage, zucchini, grapefruits, cantaloupes, red pears, and kiwi, were practically unseen and unheard of, only to be found in the 'famed fruit & vegetable charts' or in my case, in these picture books. I distinctly remember asking my parents if these were even real and if they had ever had these :D. Poor things :), in their attempt to not leave their child disappointed, used to say, "Shayad foreign countries mein milta hoga.. Yahan agar milega toh laa denge" (Maybe these are available abroad.. if we find these here, we will get these for you)... Sweet indeed...
Anyway, returning from my reverie, back in the present times,... That day, I started visualizing the spreads from one such book, the one with illustrations of spices from around the world. Thanks to my fairly decent eidetic memory, to my utter delight, I could successfully recollect quite a bit. I was beyond impressed... (so much so that I almost gave an imaginary pat to myself...yeah, whatever... But it was pat-worthy after all... Don't you agree ?..)!
Well, the next step had me rummaging my kitchen shelves and my spice box, picking a few bits from whatever spice (or spice-like ) things I had at hand... and... just to let you guys know... I was mighty pleased with my collection. I have an intense palate when it comes to seasoning and tempering, and all thanks to that trait, I had quite an assortment for the first go.
Let me list down what all I found, just to give you an idea about the array.. cumin, fenugreek, cinnamon, peppercorns, bay leaves, cloves, mustard, star-anise (yesss, this too), fennel, caraway (Kalonji.. yess this as well), sesame, chili-flakes, carom, flax seeds, mace (Javitri .. yes..yess...).... and of course the regulars like turmeric, red chili, oregano and coriander powder..... (Well... I don't know about you guys, but I was truly proud of my chest-of-spices)
This was way more than what I had anticipated to find at home, and for those who are just getting to know me, I lead quite a hermity-life aka in the modern-day lingo, 'Socially-distanced'; long before 'Social-Distancing' became a nouveau global trend (no thanks to Covid though)...
I have been like this since I was born you see... I rarely step out of my home, unless none of my exclusion principles work and it truly is the last resort left indeed !! And before you start judging me as well,... Let me tell you, I have been jeered at a fair bit for this, by quite a few :). ( Okay, so now, please don't judge me anymore... :-)
Well, anyway, once I had all these samples laid out in front of me, I was tempted to add in a few pulses, seeds and grains as well, to make the palette more aesthetically composite and holistic. I took about a teaspoon each, of all the variants that I wanted to combine, taking care to avoid as much surplus as I possibly could. I then grouped these together on small palm-leaf dishes, so that the entire gamut was spread out all at once. Since incorporating dried flowers in my design aesthetic forms a signature element in most of my creations, accessories, in particular, I decided to add these as accents whilst the actual crafting process, as and where deemed essential.
Led by raw, organic forms of the spices, I decided to craft abstract shaped free-form pendants with spice inclusions, in a mould-less technique. To offer a little more shape options, later on, I did go ahead and added a few regular moulded forms to the collection as well. So now the actual 'making process' started that lasted for an entire week. an additional of two more days, if you add in the hardware and cord attachment.
The first step then was to create abstract border containments for the desired shapes that I wanted. I sketched these out using a permanent marker on a vinyl sheet. Then I overlined these using silicone caulking to create about 1cm thick borders. Meanwhile they dried, I started hand-picking each grain and each strand from the spice archives that I had laid out before me and started arranging these in pattern and design formations according to their forms, textures, and colours.
Once, I had a certain understanding of the pattern formations, I was all set to begin with the actual process.
Now, onto the most exciting and the most challenging part of the entire process...
I mixed my epoxy and poured into these containments one at a time, till approximately a third of the border depth. Then treating each granule with respect and gratitude, I handpicked every grain and precisely hand-placed it into the poured epoxy as per the design plan in patterns that complimented their natural colours and organic forms...
Hmm... Sounds easy... Doesn't it?
Well, I wish it was as naive and as simple as the sound of it...
The spice grains being almost featherweight started floating in the viscous medium, once they got wetted. And that...., was without a doubt, the most arduous patience test I have ever faced. I had to quite literally sit there, maneuvering each of these grain granules back into their place using a couple of toothpicks.... for..... about_______ ( take a guess, how many hours !! )
5 hours straight!
Yes... I remember distinctly, because I had started the pour just a little after lunch, about 1:30 ish in the afternoon, and was glued to my stool until at least 7 pm, (..with the exception of a few trips to you know where...), the time when my husband usually gets back from work...
Hmm.., didn't this change a perception or two ;)...
( I 'd like to feel it did... please feel free to share your thoughts in the comments... I would love to hear your views... )
So once this layer was all cured, by the 2nd day, it was time to fill the remaining depth with a layer of epoxy to level out the textures. After the previous day's experience, this was a cakewalk :D. By the third day, it was time to pop these out. This wasn't too tricky, although, did take about a fair bit of time.
The next step was the most dreaded (...yes, even more than the 5hour maneuvering:// ) filing & sanding ( I wish you could see the expression on my face as I am typing this bit ).
Well, so... even though this by far is a hugely challenging task compared to all other making & finishing stages involved, I cannot emphasize enough, as to how integral it is to this entire process. I can easily go to the extent to tell you that this step is truly the maker or breaker of a piece. The precision with which it is done is the key that determines how fine, flawless, and neat, will the bauble look once finished. Additionally, not to mention that this is both, messy as well as mess-making, procedure too.
But... what's got to be done, is got to be done...
Once popped, these had to be set aside for 24 hours to enable these to reach optimal hardness for the sanding and filing process to begin. This brings us to the 5th day of our making process. Usually when de-molded, (take a look at the image above for reference) the edges usually come out quite sharp and jagged, so the first step in sanding involves smoothening these out with dry-sanding, one piece at a time, followed by wet-sanding that refines the finish a bit more.
Once this was in place, it was time for another absolutely crucial, but an almost nightmarish phase, in our technical terms called 'Doming'. Few makers consider this as an optional/non-essential step in the finishing process. However, for the makers, who start incorporating this in their practice, it becomes so addictive, (and I am totally guilty of that), because of the gorgeous premium finish that it imparts, especially for jewelry creations (Well, my addiction is to the level, where I cannot stop myself from doming my decor creations as well, in fact, unless domed, none of my pieces make it to my catalog... yeah, I forgive you for calling me insane....).
There is another process as well, called 'Polishing' that is more commonly used by makers who combine wood and epoxy. That is cumbersome too but imparts a beautiful, smooth finish to the end product. The polishing technique gives a shiny flat finish, whereas, doming imparts a glossy rounded finish, that kind of has a refractive quality to it, which makes it so dreamy. Both the finishes are equally labor-intensive. Eventually it is up to the maker, to incorporate whichever technique they deem compliments their practice, the best.
To begin doming, I taped off the edges of each of the pendants, propped these on small ping-pong glasses, and poured over the resin. And because even the tiniest dust particle can ruin a smooth flawless surface finish, once poured, it is vital to shield these with a dust cover. I had a make-shift dust cover using a cardboard box.
By the 6th day, it was cured enough to dome the other side as well.
(Yes...you got it right on point... yet again, this is my personal 'fetish' with this technique. Most artists dome only one side... well.. what can I say... I have never known absolutely any other addiction besides this.. and I mean every word of it... I am a teetotaller and a non-smoker and a non-weeder..... so you see what I mean.....)
I insanely adore not only the look but also the hand-feel whilst holding a double domed piece in hand. It is as if you are holding a piece of glass bauble.... with the added benefit that epoxy bauble is way more resilient to breakage and not as fragile as glass.
By the 7th day, I had the pieces ready with double doming, the following bit was to coat a thin layer of resin over the edges to refine them a tad bit more since the tape peeling can sometimes leave slight abrasions (not significantly visible though, but.. you know, why to leave out a tiny bit when we have come this far... right ?)
Also, I do not remember the exact pieces for which I had to, but I do know there were a few pieces that needed the doming process to be repeated over. And I promise you, this wasn't because I am hopelessly insane, it was only because even after taking as much care as possible, a tiny speck of dust might have settled on top or while propping these on glasses, there could have been slight un-leveling, which might have caused the epoxy layer to drip-off, thereby giving an uneven finish. (So you do agree now.. it was absolutely essential :) Don't you ?...)
Once the side coating cured, the following day (8th is it ?), it was time to attach the hardware and findings, ie. the metal fixtures, eye-pins, etc. through which the cording/chain would be threaded. Placing these pendants on a flat surface and at times, observing them in-front of the mirror, holding these against my neckline, I selected the most appealing pendant orientation for attaching the findings. Once ready, I marked off the points using a fine-tipped marker, ensuring they would drape as well as they could, once threaded through. Using a fine bit manual drill, I drilled off the points creating approximately 2mm holes, for inserting the eye-pins. I prefer screwing in threaded eye-pins mostly, for a firmer grip.
As an additional step, to ensure the joinery is as robust as possible, I add a drop of either industrial quality jewellery adhesive (like Contact Cement, E-6000, etc, ) or epoxy, which once cured, makes the fastening almost impossible to fall out. Epoxy joinery method is my most trusted bet by far for this, and the one I end up using the most, unless, there is a huge time crunch.
(you could check www.itsybitsy.in for a few of these supplies, in India).
Well, so now we're onto the 9th, and the final day, where the neckpieces eventually start coming together. For the Flower & Spice Necklace Collection, I used durable waxed cotton cords with pre-attached end fastenings (lobster clasps) to thread most of my pendants. There were a few designs that were showered with a little extra love because I just felt their patterns called out for that special macrame (braided) cording. I hand braided these using vanilla coloured natural raffia cord, accented with brightly hued wooden and acrylic crystal beads here and there. For the macrame cords, I mostly used a drawstring fastening mechanism for versatility in necklace lengths as desired by the wearer.
I crafted pendants with regular forms in this collection alongside the free-form ones using store-bought silicone moulds in the intervals in-between while waiting for these to cure just before the sanding process. The sanding and filing are a bit less challenging for these moulded forms comparatively. However, the double doming remains just as scary :D
If you've managed to survive through my rant and come this far, I am truly humbled by the gesture... and I would like to feel that you did enjoy your time reading this and that we did bond in some ways :) I am so so thankful...
In hindsight, this was quite a challenging project, but once everything came together, the beautiful vibe that this collection generated, was well worth all the time, patience, perseverance, and effort. Very soon I am planning to do a follow-up range to Flower Spices, that would have earrings, rings, and maybe bracelets too...
Here are a few raw images from the intermediary making stages of this collection and a few with us having fun with these.
I hope you enjoy browsing through. And if this story has inspired you to create something similar to this, I would be delighted to see your versions in case you decide to have a go at it... (Be sure to tag me on Instagram and share your versions. I would love to share it across on my Stories. Or you could reach me via email or DM over Instagram)
Also, be sure to check out the Flower & Spice section in my online shop to collect your favourite keepsake memoir from this limited edition range. I am sure you will find the narrative vibe of each of these pieces connecting with you in your own eccentric way.
If you have an occasion coming up, I am sure my online shop with a handcrafted artisanal range of products, will have a thoughtful handmade unique gift option for you to mesmerize your loved one with.
Eager to hear what you guys have to say about your experience, re-living this making journey with us. Please feel free to share your views in the comments here...
Will be back soon,
Until then,
Loads of Love, Laughter & Cheers,
Aalie & Devanshu
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