Magic of the Kolhapuri slipper

One of India's best known artists is Subodh Gupta. He has taken everyday objects like tiffin boxes, thali pans, milk pails and even bicycles and turned them into works of art. These pieces number among the art world's sought after collectibles, having shown at the National Gallery of Melbourne, Frankfurt's Museum fur Moderne Kurst and London's Showroom Gallery. Photographer Dayanita Singh is known for her narratives of everyday life in India, with Mona Ahmed, a eunuch living in a cemetery in Old Delhi being one of Singh's best-known subjects for her black-and-white pictures. Her books and mobile museums have made Singh one of India's most admired visual artists.
Bangalore-based artist Sheela Gowda has used materials such as cow dung, coconut fibre and turmeric in her work. All of these artists have been using such subjects that are part of everyday life in India - while they may appear mundane, each tells a story of the country's rich and beautiful heritage.
This is the starting point of a new book. Newly released book Sar: The Essence of Indian Design is published by Phaidon, curated by fashion designer Rashmi Varma and curator/artist Swapnaa Tamhane, and photographed by Prarthna Singh. The book celebrates 200 objects of everyday life, making them feel like objects of desire. Be it Meerut barber scissors, Bata shoes or the Hamara Bajaj scooter. The two curators Varma and Tamhana have been friends for over 15 years.
Returning home to Canada from a trip to India, they felt there was a need for a museum that displayed the everyday objects of India. Growing up in the Middle East before moving to Canada with extensive travelling in India, Tamhane says, "We noticed what was not available in India in the 1980s, and at the same time, noticed all the amazing items that our parents brought back like saris, adolis, modak moulds, sindoor boxes. So I would say that our vantage point is both as insider and outsider, and our selection was the result of cultural memory or imprint, and therefore, quite intuitive." The museum turned into a book. Meanwhile, both have become well known names in their fields. Varma's eponymous Indian fashion label sells at stores such as Delhi's Ogaan and Mumbai's Ensemble. Tamhane is curating an exhibition of contemporary Canadian art at the Aga Khan Museum in Toronto that opens in July. 
Says Tamhane, "We created this collection because we noticed that there is a lack of representation and language around these living objects; they are not considered as design, but have been represented as ethnic, kitsch objects. Often India, when represented in the West, is seen in a very particular lens that is quite cosmetic." And the making of this book was no easy process. The duo went to museums and conversed with curators and historians from all four corners of India. Tamhane adds, "We often shared our list so that we could make sure that we were creating a good, wide representation (although this is not a complete list by any means). The book was nearly four years in the making, five months to photograph, and another six months to write. But the conversation about the book goes back nearly 15 years."  And while there are 200 objects in the book there are few that stand out - just for being so much a part of the India story.
Says Varma, "I like the objects that anyone can have - that are totally democratic whether you live in the upscale Bombay Pali Hill or in a chawl, like a lota, pateela, plastic buckets, jeebis, or Nilkamal chairs. I think the pink plastic balti (bucket) is a great universal example because even if someone has a fancy new bathroom with a rain showerhead, you may still find a bath mug and balti in their bathroom."
The book has received a warm welcome and was part of the recent Jaipur Literature Festival. But there are some who feel its curation is too simple and narrow. Its pricing too has been called into question as it does not reflect its core subject - that design is accessible. Priced at US $79.95 (around AED290) this design book is not accessible to all. The authors themselves realise that everyone has their own opinions and adds, "Everyone is rightfully going to have their input towards an ambitious book like this. Part of our own lengthy discussions and list-making were related to whether or not we should include imported designs like the Ambassador or the pressure cooker. But these objects are part and parcel of daily life, and have been adapted in such an integral way. We were less concerned about 'origin,' and were focused instead on what we see around us now and how these objects inform the culture at large."
Perhaps this book is not a definitive list of everyday Indian design. You can wonder how a woven sari by one of India's most celebrated designers Sanjay Garg fits in with a Bajaj Scooter, but you cannot help but admire the photography and styling of each object. It is obvious by the careful way each object is shot that the authors fell in love with every piece in the book. And that they believe these are the 200 objects that deserve to be looked at with desire. Each piece is shot within its own context yet manages to be the focus of the picture. Tamhane explains the creative process by saying, "Rashmi had known of Prarthna Singh's work, and wanted one photographer for the whole book. We all wanted to focus on the form, and to show the unique feature of the object that may describe its use but also shows why it is good design. Each photograph has a great story; the three of us travelled and selected each object. Prarthna really made each object have a personality of its own and come alive to be seen in isolation without any visual noise." The pictures alone make it worth adding to your bookshelf if you are a true Indophile.
- sujata@khaleejtimes.com