Homegrown designers and artists in spotlight at D/Code
A bright and sunny weekend of March 17th and 18th witnessed a two-day luxury art and design exposition called D/Code held at the Four Seasons Hotel in Mumbai. A new, innovative platform conceptualized and curated by award winning architect Ashiesh Shah in association with the Times of India Group, the fair was the first of its kind in the subcontinent. For those who could not make it to the event, we offer you glimpses
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Scarlet Splendour will be launching exciting new collections at this year's Salone Del Mobile - Milan Design Week by renowned international designers - Italian maverick Matteo Cibic, Slovenian minimalistic Nika Zupanc and UK based flamboyant Artefatto Design Studio.
London based Artefatto Design Studio, have indulgently worked on the alluring Snow White collection, crossing the boundaries between art, design and luxury fashion, in order to create a unique and personal vision for the collection.
Scarlet Splendour's curated collection of alluring chairs, rugs and artefacts crafted with the finest sheepskin found in all the realms, are held by golden frames. This is what it must feel like to waft away to your own kingdom of clouds and gentle surrealism, within a world, which may no longer be dreamlike. It’s a promise of luxury, beyond imagination. The soul of this collection rests in the majestic crowns of kings and queens, past and present.
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The Muṅgāru Easy Armchair made with teak and natural cane is part of the 'contemporary modern' Muṅgāru Collection designed by Milan based furniture designers INODA+SVEJE exclusively for Phantom Hands, an artisan collective of traditional woodworkers, cane weavers, upholsterers, etc from different parts of India making handcrafted furniture based on mid century modern and contemporary design. The design draws inspiration in equal parts from the modernist legacy of Chandigarh’s mid-century furniture, and the level of skill that traditional Indian craft based production offers. Japanese and Danish design traditions of Kyoko Inoda and Nils Sveje are also evident in the designs
RAIN STUDY (THE HOUR OF THE DAY OF THE MONTH OF THE SEASON), 2016, BY JITISH KALLAT
Graphite, acrylic epoxy on Arches Paper
Much like his elemental suite of Wind Studies, Rain Study participates in the near currents of the atmospheric to summon images that invoke the astronomical. During rain-showers, with the drawing paper held out to the sky Kallat steps outdoors. The drawing thus becomes a rainwater receptacle with constellations of descending raindrops settling on the paper. This short duration of time, measured through the artist’s breath cycles are marked as BC on the drawings. Once overlaid with a spray of dark pigment and wiped dry, the resultant image invokes galaxy clusters or stellar maps of the distant universe.
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Graphite, acrylic epoxy on Arches Paper
Much like his elemental suite of Wind Studies, Rain Study participates in the near currents of the atmospheric to summon images that invoke the astronomical. During rain-showers, with the drawing paper held out to the sky Kallat steps outdoors. The drawing thus becomes a rainwater receptacle with constellations of descending raindrops settling on the paper. This short duration of time, measured through the artist’s breath cycles are marked as BC on the drawings. Once overlaid with a spray of dark pigment and wiped dry, the resultant image invokes galaxy clusters or stellar maps of the distant universe.
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RAIN STUDY (THE HOUR OF THE DAY OF THE MONTH OF THE SEASON), 2016, BY JITISH KALLAT
Graphite, acrylic epoxy on Arches Paper
Much like his elemental suite of Wind Studies, Rain Study participates in the near currents of the atmospheric to summon images that invoke the astronomical. During rain-showers, with the drawing paper held out to the sky Kallat steps outdoors. The drawing thus becomes a rainwater receptacle with constellations of descending raindrops settling on the paper. This short duration of time, measured through the artist’s breath cycles are marked as BC on the drawings. Once overlaid with a spray of dark pigment and wiped dry, the resultant image invokes galaxy clusters or stellar maps of the distant universe.
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Medium: Mirror and glass
Playing with the duality of translucence and reflectiveness, Shilpa Gupta creates crockery that partially doubles and juxtaposes worlds of the past and future. If mirror reflects our past, glass allows us to look into the future. The artist’s creations lie in between, in other words, the present.
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The chairs of Thukral & Tagra juxtapose heavy and light, stable and swing as well as sturdy and delicate. In its diminished scale, it holds the sense of childhood play and frolic with serious repose. Their simply detailed structure almost read as outlines of animal forms found in literature we engage in early life.
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Medium: Metal Alloy, Solid Brass, Sheesham Wood
From Aranmula, in Kerala - this metal alloy, a precise combination of molten copper and tin, is a closely guarded secret – and was said to have come to an ancestor in a dream. Once cast into a flat piece, the metal is laboriously polished by hand for a number of days, using only oil and water, until there is a transformation from the rough metal to mirror. Working with one of the last few families that carry on the tradition of this fascinating home based craft, Tiipoi, a London based brand and design studio commissioned one of the largest mirrors ever cast in Aranmula using this technique. Replacing the traditional mirror housing that hid away the rough edges of these cast mirrors, Tiipoi designed a new framing system in solid brass and wood that exposed them.
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The pair of consoles presented by Splendour for D/code are conceptualised in precious materials - from highly polished brass, to matte, antique and patinated bronze. The accompanying wall-lights, Plis (or fold in French) follow the same concept and technique of different metal finishes for each fold of light. Both the consoles and wall-lights each in a limited edition of 10 pieces are offered exclusively by Nilufar Gallery and presented officially in this edition of Fuori Salone design week 2018 at the Nilufar Depot in Milan.
ILO’s fine rugs, handcrafted in Nepal and India, combine a contemporary aesthetic with a centuries old craft that has been passed down over generations. Each piece is made using traditional Tibetan and Persian knots and loom techniques, using only eco-friendly dyes and natural yarns from the Himalayas and New Zealand. This year for Fuori Salone 2018, Splendour will showcase three comprehensive collections of hand knotted rugs by ILO.
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Medium: Paint on Mild Steel
Rana Begum’s practice combines childhood encounters with Islamic art, architecture and ritual practice in Bangladesh together with visual cues gathered from the streets of London. Like much of her overall practice, Begum’s beloved ‘folds’ on display resist easy categorisation: they contain elements of both sculpture and painting, pushing the relationship between colour, form, and three-dimensional space in new and exciting ways.
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