Understanding the role of space and objects in creative work | Jaipur Studio Series
Cocoa and Jasmine studio space shifted at the beginning of this year to the vibrant city of Jaipur. As we settle into the vibe of a new city and redefine our identity, we were curios to connect with the glocal community in the city. We created a series that explores designers from diverse backgrounds and creative pursuits through their studio spaces. Over the course of the last two years, the nature of work has undergone transformation and so have the spaces from where we work. The studio is designed to be a space where we, as artists and designers, can focus our energy and state of mind to the pursuit of creative goals. The interiors and the objects that decorate the studio reflect our artist personas.
This series delves into the intricacies of the studio, and how space and objects influence the creative process of artists and designers. Because of the myriad changes each of us has gone through in the course of the pandemic, we thought it would be interesting to understand the role of space and objects in their work.
Alejandra Dominguez of Unknown Carpets
Colour of everyday life as inspiration
“I define myself as a human involuntarily obsessed with colours and images. This year, I realised that colours really attract me. I like to transfer the colours I see into my work, though images continue to be my main source of inspiration. I find a lot of different scenes and actions in India. I try to understand and combine whatever mental images I collect in order to create my imagery. For example, if I see a yellow in my corner, I try to find other elements of yellow that can be connected with this story. A never ending story.
These connections are very intuitive. When I am outdoors, there will be so many coincidences that it’s almost spiritual.”
Creative spaces and places
“I work from home in the early mornings; I like the silence. I try to start early. I like to have a connection with the environment. I feel very good in this studio, because I love white and I love the quiet. And to be around yarns and rare silks and all these materials gives me a sense of constant happiness. And ideas. Also, I love the greens that fill up this studio space. Rare greens that inspire the Garden collection we are making.”
Poetry and philosophy
“I am very inspired by Urdu poetry and the concept of nothingness. This spiritual connection I find in our work, it all started when I went to Kashmir a couple of times. I personally like the mix that happened there between local Indian cultures and Persian culture. There is a deep spiritual vibe in Kashmir… the Dal Lake, the rare old mosques, and the gardens make me feel elated. There, I started to pick up these poetry books. I have been reading them slowly.
I-like emptiness and not being attached to spaces. My home is in my images, and we should be able to live with that emptiness.
More than reading, I connect. Sometimes when I read Ghalib, I don't have words to tell why I connect so much. There is a sense of mystery attached to Islamic and Central Asian cultures…it is very layered. Which I love. I find it hard to connect with the idea of an absolute culture.”
Colour and mood
“Apart from white, I connect with bright yellow a lot. I think, when we talk about India I get inspired by its myriad walls and colours. But when I express my work, I like to ‘update’ what I find. I have a digital rather than nostalgic approach. I also love pinks, for that light and happy feeling.
I like how men in India interact with bright yellows and pinks - it is not very common in other cultures. It has this magical aspect of stories and storytellers. I have this series called ‘Ancient Pinks’; it started with some images from Italy with these old pink walls, making a contemporary romantic story.”
Favourite corner and objects of nostalgia
“My favourite corner in this studio is where my images are. I feel protected by them. Such a relationship with materials and objects makes us feel safe and creates a sense of belonging.
I have a small thing that my grandmother gave me and some beads that I always carry with me. The random colours of these objects and the beautiful coming together of stones and colours signify for me memories of the Silk route, of northern India and Central Asia. These are like the physical aspects of my images.
I also have ceramics and jars my aunt gave me when I came to India. I have a broach my grandmother gave me, from Peru, again something I always carry. It has an Inca symbol. I carry it to all my meetings, like a totem. The translation of such visuals, materials and objects is subjective - the more images I find, the more I know myself. They give me a sense of determination.”
Bhaavya Goenka of Iro Iro
“Iro Iro is about upcycling waste fabric into wearables through innovation. The objective is to see waste through a lens of quality and design; of appreciating, and not compromising on, quality or design.”
Creative Process and space
“When it comes to my creative process, I like laying down swatches in one corner of the studio and then moving them on to the board. I move around the space a lot. Movement is what helps me create the drawings and illustrations. It activates different parts of the brain and helps me see things from different perspectives, rather than being confined to one lens.”
Colour in Everyday life
“On a very personal level, I like combinations of colours. Even in nature, I see colours playing with each other. Like the lush greens against the blue of the sky, the reflection of a rainbow in rain puddles on gray concrete. I am quite conscious of colours in my space -- in the manner of arranging books, for instance. It is when I am creating collections that I am most conscious of colours. Gradients, combinations… The spaces I occupy are not dominated by any specific colour.”
Favourite object in your studio
“My mother created hangers using textiles. She also worked with waste fabrics and employed so many women while creating income opportunities for them. Apart from inheriting objects, I have also inherited her values. So many of these objects I have at home create spaces of belonging - a cup that a friend gifted me, my coffee, my books…”
Nostalgia with objects and materials
“When I was in college, we found a handwoven shawl that my mom no longer wore and made a jacket out of it. It reminds me of her. I also have these woollen pants that belonged to my grandfather and are at least 50 years old! I have worn them throughout the winters and they have kept me warm and protected. My mom also left me a lot of books and when I read them, I feel as if I am talking to her.
City as an inspiration
“Such interactions with objects and memory inform my creative process. I interact with everyday Jaipur in a similar way, and primarily through the city’s colour palette. The gerua walls, the lush green trees, and watching the sky as I walk or drive… Jaipur presents itself to me like a kaleidoscope. This is how my city lets me create design.
I often go to the walled city for inspiration. Everytime I visit, I find a street that I really love. Every street is dedicated to a craft, and the area is designed in a way that encourages craftspeople. Each visit enriches me. One time, this man who was selling flowers offered me a flower -- there was no intention behind it, but the moment of inspiration in these interactions is precious.”
Home studio
Over the last two years through the pandemic, I spent a lot of time at home. My studio wasn't accessible because of curfews and restricted movement. I was at home for a lot of time. I didn't redo any space at home but put up a whiteboard, moved around objects, and bought a loom too for my weaving practice. I like to play with objects and move them around. That’s how I interact with spaces.”
Avishek Mandal of Rias
Rias is “an initiative to keep the handmade techniques alive”. Rias’s work focuses on two ancient crafts of India, Dabu/bagru & hand block printing onto handwoven fabrics. Rias seeks to bridge the artisanal with the modern. They involve the weavers in the design process, and it is more about creative symbiosis than anything else.
Avishek mentions the influence of their grandparents who migrated from Bangladesh, carrying with them an aesthetic based in cotton and upcycled materials. This is Rias’ inheritance, and the brand believes in creating sustainable clothing that will generate employment for the artisans while sustaining generational skills. It is quite apparent how the values that shape their work, clothes and designs were instilled in their growing up years.
The minimal aesthetic of the brand’s clothes is a reflection of the studio, or maybe each influences the other. Avishek prefers toned down interiors that do not scream. The studio is like an extension of the mind, a tabula rasa or blank canvas against which creations come alive upon brainstorming. Avishek stresses on how significant it is for the brand to engage with the artisan community. In fact, he spends more time with the community than in their studio. It is in the community that ideas are born.
In the studio, Avishek’s favourite objects are his Pantone books and colourful swatches. He likes it when the interiors are kept white, though blue is his favourite colour. The Rias studio exudes a sense of calm because of its very minimal decor. Avishek likes the studio to have ample space to move around, pause, and reflect. The only decor that stands out are the abstract artworks that decorate the wall - Cubist paintings by the Russian abstract artist, Vladimir Tatlin.
Geometrical shapes play an important role in Rias’ overall aesthetic - simple lines, clean cuts, and a preference for clutter-free design. As Avishek says, “only one thing should be the hero in the space”. And that goes for both the studio as well as the clothes the brand creates.
Preeti Pugalia of Craftboat
A handmade paper company based in Jaipur that works with the ancient art of papermaking by recycling waste fabric. Started in 2015, the company creates beautiful, recycled paper products with a focus on community development. Meeting Preeti Pugalia, we were able to gauge her creative process through her interaction with space and objects.
Her favourite part of the studio is the sampling corner that is filled with myriad colours and textures. “This is where all the fun happens!” she says. A glance at Craft Boat products is enough to understand how important colours are in their journey of creation. The dominant colour mood is pastels and muted earthiness which is created with the help of natural dyes. Using natural pigments is the brand’s unique signature and also reflects their values.
Craft Boat believes in the beauty of timeless pieces, and good design is truly timeless. The craftspeople are encouraged to use primitive tools and techniques - everything is created by hand. From rolling to dyeing to marbling, from folding to packaging, there is a dedicated team of artisans for every task of creating the paper and products. Community is at the heart of their work. From the dusty lanes of Sanganer to the crowded alleys of Jaipur, Preeti says that a strong community is behind Craft Boat’s success.
The studio reflects shades of blue and is filled with handmade objects that tell us about her intense passion for craft-led work. Travel being a big part of her life. Preeti is somewhat of a collector; she makes sure to carry back memories of places through handmade objects. Along with that, one can see corners adorned with beautiful diy-crafted items made by her mother, a reminder of just how many stories her studio space is home to.
This attention to details is noticeable in every Craft Boat product, such as their beautiful packaging. “People always keep small things,” is what Preeti mentions. And we cannot agree more.