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The artworks traces the history of indigo across the globe. Shelly Jyoti refers to the 17th century when Azrak craftsmen migrated to India from Baluchistan and Laura Kina has examples from the indigo-dyed Japanese folk kasuri fabrics and traditional boro patchwork quilts. The aim is to depict different connotations that the word indigo denotes.
While my work takes more from the past,Kina has a postcolonial edge, says Baroda-based Jyoti,52,who conceived of the exhibition in 2008 when a mutual friend introduced her to Kina who is based in Chicago. There were some similarities in our previous work. The initial idea was to work on the theme of ikat embroidery but then we discovered our common association with indigo, adds Jyoti.
Jyoti,on the other hand,worked with Azrak craftsmen in Bhuj. It is an art that is dying, says Jyoti,looking at the work using the Azrak dyeing technique that has motifs of charkha to wooden sandals,associated with Gandhi who supported the Champaran movement in 1917. In another triptych An Ode to Neel Darpan,Jyoti,a National Institute of Fashion Technology graduate,narrates Dinabandhu Mitras Bengali play Neel Darpan that portrays the aftermath of the indigo revolt organised by farmers forced to cultivate indigo by colonial planters. In Jyotis panel the colonisers are hawks who are manipulating the lotuses that represent farmers. In another series she stitches patches of different style of traditional embroidery,from ahir to soof on canvas with Sanskrit calligraphy black print. I hope this encourages people to patronise craftspeople, adds Jyoti. The connotations associated with the colour indigo,meanwhile,do get a shade darker,as its grim past is delved into.
The exhibition at Open Palm Court Gallery is on from December 23 to 28
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