'Ariso' means mirror in Kutchi.
This book is a visual reflection on identity and belonging through colour and texture.
When creating this book, I wanted to blend my curatorial practices of research and critical writing with design practices of making. I wanted this book to be both an academic resource as well as a space for personal introspection.
Below are the major themes and strategies of the book.
REFLECTIONS ON LANGUAGE
My exploration began from Language. I was interested in the different dialects of Kutchi and their written expression in the Gujarati script, since Kutchi has no script of its own. This echoed my own confused expression of ethnic identity through language.
With the aim of investigating the hierarchies of my languages, I began reflecting, writing, and researching the linguistic superiority of English. I found that power differences also existed within national and regional language dynamics.
Intrigued by the heavy nasality of Kutchi, I created a typeface to represent the way Kutchi is spoken in my family. To visualise the phonetics of my ‘language of intimacy’, as Amy Tan describes language variations created within families.
I focused on quintessential phrases such as ‘Ki Ayo’ and ‘Achija’ (come again) to capture the dialect through my experiences. I used the Latin (English) and Devanagari (Hindi) scripts to show the power of these two over regional languages such as Kutchi and Gujarati.
EXPLORATION OF IDENTITY
My name has always perplexed me. I never felt like it belonged to me. Or rather I didn’t belong to it.
This reflection prompted an exploration of ethnic identity, and the contradictory feelings of fear and pride that come with being part of any diaspora. I aim to visualize this juxtaposition of emotions and create space for the dichotomies of identity.
BELONGING
Being away from home was hard on me emotionally. I never felt grounded enough, and the constant change of moving every 3 months took a toll on my confidence. What kept me grounded throughout this time was the feeling of belonging.
Belonging to something, even if it wasn't my immediate surrounding. I wanted to visualize my sense of isolation, the disillusionment that came with my new life and the yearning for familiarity.
My practice is guided by a range of open ended questions regarding belonging, heritage and place.
TEXTILE AS ALLEGORY
Throughout this practice space I use Indian textiles as a metaphor for larger themes of identity, belonging, difference, and the politics of being considered ‘ethnic’ in a predominantly white environment. I’m interested in investigating the role of fashion as an identity marker and a form of ethnic expression. As a tool to ‘other’ yourself on purpose.
I explore Indian traditions of passing down clothing and jewellery as a form of history and record keeping. This is a more experiential form of recounting history than written documentation, as it allows individuals to engage with their heritage on a visceral level that transcends the written word.
DESIGN PEDAGOGY AND PRACTICE
I aim to represent age-old Indian crafts and traditions in my design practice. Having studied Roland Barthes’ work on semiology and its manifestation in the Bauhaus movement, I explore mehendi (henna) design and its ability to narrate a story.
My intention is to show that these traditional practices, when viewed critically, also exhibit semiotic techniques of symbolism and iconography.
Whereas the above example introduces Indian practices to a western framework, I am also interested in re-imagining this framework, as one that prioritizes designing for an Indian context and audience.
Essays that explore design through a non-western lens have been excerpted and supplemented with notes and reflections from my practice.
