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Newsletter: SALT: THE GREAT MARCH (A visual art project) BY Shelly Jyoti 2013-15

NEWSLETTER

SALT:THE GREAT MARCH -(A visual Art Project 2013-15)

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Salt:The Great March Re-Contextualising Azrakh Traditions on Khadi in Contemporary Art and Craft 2013-15

By  Shelly Jyoti

Overview:

Salt: The Great March 2013-15 has been exhibited at Indira Gandhi National Centre for ArtsIGNCA, New Delhi (Sept 2013) ;India International centerIIC, New Delhi (Sept 2014);The Museum Dakshina chitra, chennai (Oct-Nov 2014); Azad Bhavan Gallery , Indian  Council of cultural relations ICCR, New Delhi (January 2015)

 The Salt March series explore salt as a symbol of non-violence. The project is inspired by the Gandhi’s theory of satyagrah – a challenge to ones own truth with stress on self-purification, self-examination and self-assessment. “Salt” series draws upon the history of India’s colonial past and Mahatma Gandhi’s 1930 Dandi March, which began the Salt Satyagraha and became an important part of the Indian independence movement. Within the Salt March series-khadi is re-contextualized as a contemporary social movement visualized through art and traditional craft materials and processes, seeking out the possibilities of bringing the khadi spirit into our daily lives.

The “Salt” series is a continuation of Jyoti’s earlier series, ‘Indigo Narratives (2008-14) that were inspired by an anti-colonial, nonviolence movement, 1917-18, Gandhi’s first non-violence protest for indigo farmers in India.

Shelly Jyoti’s present body of work features five site-specific khadi fabric installations including clothing, 35 artworks utilizing Ajarkh textile traditions on khadi fabric and spoken poetry video film.

Important E links

  E CATALOG PUBLISHED BY ICCR http://issuu.com/shellyjyoti/docs/shelly_jyoti__16_to_21_jan_catalogu/1?e=6187501/10933769

 E CATALOG PUBLISHED BY IGNCA

http://issuu.com/shellyjyoti/docs/brochure_1-64?e=6187501/11144822

AN INTERVIEW ON SALT MARCH AT THE MUSEUM , CHENNAI https://www.youtube.com/watch?v=5L3YLADTjBM

 ON THE MAKING OF SALT:https://www.youtube.com/watch?v=XO670z2yqxs

 INTERVIEW BY TV INDIA ‘INDIA CALLING’  https://www.youtube.com/watch?v=TZbIbRpOTxs

MULTI MEDIA POETRY VIDEO ART https://www.youtube.com/watch?v=WXl8bgjmA7Y

ARTISTS BIOGRAPHY https://shellyjyoti.com/about/biography/

 ARTIST PORTFOLIO https://shellyjyoti.com/portfolio/

 ARTIST PRESS &MEDIA https://shellyjyoti.com/press/

 ARTISTS BLOG:https://shellyjyoti.com/blog/

 

 

 

Shelly Jyoti Blog, News, Uncategorized ,

Paper presentation at XVII International Conference,Goa

Paper presentation at XVII International Conference,Goa

XVII International Conference, Goa 21-24 December 2014 Venue: International Centre, Goa   SALT-A COLONIAL METAPHOR: RELEVANCE TODAY VERBAL, VISUAL AND NEW ART MEDIA By Shelly Jyoti Delhi based Artist, Poet and an Independent curator

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Abstract :My paper is an attempt to theorize my own artwork ‘Salt: The Great March 2013-14’ series I& II- A visual Art project. The Salt March series explore salt as a symbol of non-violence. The project is inspired by the Gandhi’s theory of satyagrah- a challenge to ones own truth with stress on self-purification, self-examination and self-assessment. Satyagrah stimulates our conscience and soul searching for the upliftment of all (sarvodaya). The “Salt” series explore khadi as a contemporary social movement visualized through art and traditional craft traditions and processes, seeking out the possibilities of bringing the khadi spirit into our daily lives. If by spinning, weaving and wearing khadi, can the commitment to individual action bring about a sense of pride in our nation in the 21st century? Can such an action bring about nationalistic feeling and significant changes in our society? The “Salt” series is a continuation of my earlier series, ‘Indigo Narratives (2008-14) that were inspired by an anti-colonial, nonviolence movement that took place in 1917-18 and also Gandhi’s first non-violence protest ‘champaran’ movement for indigo farmers in India. The works feature site-specific khadi fabric installations including clothing, 40 artworks utilizing Ajarkh textile traditions on khadi fabric and spoken poetry video film. To draw from ‘Parapolitics: Toward the City of Man’, can modern societies become genuine moral communities? According to Gandhi, they can. Gandhi’s vision of a Sarvodayan society is embryonic, but nonetheless engaging and stimulating explaining swadharma for individuals defining traditions and duty clearly. These works have been exhibited at IGNCA (Indira Gandhi National Centre for Arts) New Delhi (Sept-Oct 2013):India International Centre, New Delhi (September 2014): The Museum Dakshin Chitra, Chennai (Oct -Nov2014) Lectures of the above at IGNCA New Delhi , Lalit kala Academy , Chennai, Apparao Galleries Chennai, New Delhi  2013-14 Scheduled venues: Baroda (2015): Gandhi memorial Centre Washington Dc 2015.

click here :https://www.youtube.com/watch?v=WXl8bgjmA7Y

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‘Lincoln, Gandhi and Obama : A creative visual dialogue in Miniature painting style’

‘Lincoln, Gandhi and Obama : A creative visual dialogue in Miniature painting style’

“Lincoln, Gandhi and Obama: A Creative visual dialogue in Miniature painting style”

By Shelly Jyoti Artist, Designer, Poet and an independent curator

View the full 23 min lecture at The ATWS conference  IIT Chennai

Video credits:  Dr Kehbuma Langmia

Image : ‘Lincoln ,Gandhi and Obama: A visual Dialogue’,Gouache  on  wasli paper,11×8 inches, 2013

 For

Association of Third World Studies (ATWS)

31st Annual International  Conference

28-30 December 2013

Chennai, India                                            

Venue: Indian Institute of Technology Madras (IIT Madras)

Erik H. Erikson records in his book “Gandhi’s Truths” that when Mahatma Gandhi met with the British viceroy in 1930 after the Indian salt protest campaign, Gandhi took some duty-free salt from his shawl and said with a smile that the salt should ” remind you of the famous Boston Tea Party’.

From the Boston Tea Party to Gandhi’s Salt March, struggles over economic issues have historically had great importance in anticolonial movements. This artwork has multiple parallels and references of Boston Tea party, blue pottery from china and Obama’s self-confessed wisdom derived from Lincoln and Gandhi.

Abstract: Using a visual language , I am exploring  within my recent artwork titled  ‘Lincoln ,Gandhi and Obama: A visual dialogue’(2013)  the commonalities between legends Lincoln and Gandhi, the two great political leaders of their times who fought for the freedom of their countrymen . Further they both have been personal mentors and inspiration to Obama . I am attempting to create the imagery in Persian miniature art form engaging by weaving a dialogue between Lincoln, Gandhi and Obama . As a contemporary artist, my works are centred on historical iconographic elements within the cultural context of Indian history. I explore and construct the hermeneutics of period histories, its contemporary representation of socio-economic and political inquiry within my art practice. This artwork is an extension of my previous projects ‘Salt: The Great March’(2013) and ‘Indigo Narratives’(2009-13) which examined Gandhiji’s involvement in freedom struggle as an anti-colonial resistant movements.

My paper would explore in facilitating a visual dialogue and also investigating the technique of traditional miniature artwork that originated from Persia and came in India through Mughals and still prevent in India in different styles.

‘Lincoln, Gandhi and Obama: A visual dialogue’(2013)  series of artworks will be discussed by   Mandakini V Jha(Dept of Sociology M.S university Baroda)in her paper titled “A Painting on Lincoln: Sociological Theory , Art and Artists”