JOURNAL ARCHIVE
Verma, Benedicte Martin,
Benedicte Martin Verma is a photographer and camerawoman. After graduating in philosophy, she studied film making for two years in Paris. She has directed four documentaries in France and India. She has lived in India since 1998. Loves Indian crafts and craftspeople.
Benedicte Martin Verma is a photographer and camerawoman. After graduating in philosophy, she studied film making for two years in Paris. She has directed four documentaries in France and India. She has lived in India since 1998. Loves Indian crafts and craftspeople.
Vilsbøll, Anne,
Anne Vilsbøll is a Danish visual artist, writer and curator specializing in handmade paper as a means of artistic expression. She learned papermaking from Professor Frank Eckmair, Suny, Buffalo, NY and from Nance O'Banion CCA, CA, in the early 80s. Since 1983, she has researched handmade paper in most parts of the world; written essays and articles about paper as well as books, e.g. Papermaking I - II - III, Borgens Publisher, 1985 -91-96, Language of Paper, 2011, and organized exhibitions: i.a. Paper Path and Paper Road, 1995 - 1996, Paper Revisited, Art Center Silkeborg Bad, 2001, Sindhupare, India 2011 and Paper – a cross-cultural voice, Art Center Silkeborg Bad and Kasturbhai Lalbhai Museet, Ahmedabad 2022 - 23. Anne Vilsbøll is visiting professor and guest lecturer at art academies, design schools and art museums. She was a founding member of IAPMA, International Association of Paper Artists and Hand Papermakers, in 1986, editor 86 - 92, president 96 - 00. In 1987 she founded Strynø Papiratelier, in 2001 Atelier Ferrage, St. Jeannet, France, in 2005 artist residence house Makanne, Udaipur, India, and in 2020 the Paper Academy in Gilleleje.-www.paperacademy.dk www.annevilsboll.com www.makanne.dk www.paperacademy.dk
Anne Vilsbøll is a Danish visual artist, writer and curator specializing in handmade paper as a means of artistic expression. She learned papermaking from Professor Frank Eckmair, Suny, Buffalo, NY and from Nance O'Banion CCA, CA, in the early 80s. Since 1983, she has researched handmade paper in most parts of the world; written essays and articles about paper as well as books, e.g. Papermaking I - II - III, Borgens Publisher, 1985 -91-96, Language of Paper, 2011, and organized exhibitions: i.a. Paper Path and Paper Road, 1995 - 1996, Paper Revisited, Art Center Silkeborg Bad, 2001, Sindhupare, India 2011 and Paper – a cross-cultural voice, Art Center Silkeborg Bad and Kasturbhai Lalbhai Museet, Ahmedabad 2022 - 23. Anne Vilsbøll is visiting professor and guest lecturer at art academies, design schools and art museums. She was a founding member of IAPMA, International Association of Paper Artists and Hand Papermakers, in 1986, editor 86 - 92, president 96 - 00. In 1987 she founded Strynø Papiratelier, in 2001 Atelier Ferrage, St. Jeannet, France, in 2005 artist residence house Makanne, Udaipur, India, and in 2020 the Paper Academy in Gilleleje.-www.paperacademy.dk www.annevilsboll.com www.makanne.dk www.paperacademy.dk
Vinod, Khyati,
A creative and curious being, Khyati has been associated with Khamir for the past 2.5 years, where she is building a craft curriculum, using design thinking tools and engaging with craft artisans, teachers and other stakeholders. She explores traditional knowledge systems of diverse communities, conducting ethnographic studies with them to find coherence in the elements of the craft ecosystem and today’s educational practices. As an architect from CEPT University, she has over five years of experience in the academic sector, teaching at various Design/ Architecture schools. She is also part of Living Lightly, a curated exhibition on the Pastoralist of India, where she conducts socio-cultural documentation of the pastoral communities of Deccan. She enjoys painting and is also a recipient of many prestigious awards for her artworks.
A creative and curious being, Khyati has been associated with Khamir for the past 2.5 years, where she is building a craft curriculum, using design thinking tools and engaging with craft artisans, teachers and other stakeholders. She explores traditional knowledge systems of diverse communities, conducting ethnographic studies with them to find coherence in the elements of the craft ecosystem and today’s educational practices. As an architect from CEPT University, she has over five years of experience in the academic sector, teaching at various Design/ Architecture schools. She is also part of Living Lightly, a curated exhibition on the Pastoralist of India, where she conducts socio-cultural documentation of the pastoral communities of Deccan. She enjoys painting and is also a recipient of many prestigious awards for her artworks.
Visser, Marlies,
Marlies Visser (1966) is a well-known graphic designer, artist and illustrator. Her work is versatile and diverse: she not only designed numerous book covers and illustrated and wrote picture books, but also developed a philosophical board game called Nomizo and did the artwork for stop motion animation in a feature film. Her work has been exhibited several times. Visser started a sustainable design project and is a member of various juries. Marlies is the founder and creative leader of the Illustration Biennale, an international festival for illustrators. Marlies creates innovation by connecting maker and audience. She works from her studio in Haarlem, The Netherlands.
Marlies Visser (1966) is a well-known graphic designer, artist and illustrator. Her work is versatile and diverse: she not only designed numerous book covers and illustrated and wrote picture books, but also developed a philosophical board game called Nomizo and did the artwork for stop motion animation in a feature film. Her work has been exhibited several times. Visser started a sustainable design project and is a member of various juries. Marlies is the founder and creative leader of the Illustration Biennale, an international festival for illustrators. Marlies creates innovation by connecting maker and audience. She works from her studio in Haarlem, The Netherlands.
Wabisabi Project,
Kriti Gupta is an artist and Avinash Maurya is a graphic designer. Both of them are very interested in knowing and understanding the invisible Indian network of communities, castes, livelihoods, skills and cultures. And the intriguing art and craft of hand block printing and natural dyes had it all. They began gathering the know-how of the craft by travelling across Rajasthan and Gujarat and staying with master printers and dyers in different regions. They now run a small printing operation in a rustic shed on the outskirts of Bagru, focused on rediscovering traditional dyeing and printing processes and experimenting with the dye ingredients of Rajasthan. To further the need for education, they also run a series of day long hand printing workshops to spread their infectious appreciation of the craft to others. Generally, both of them are lovers of the process of creation. They like to get their hands dirty and enjoy the state of impermanence around them. Hence, call themselves Wabisabi. They can be found at www.wabisabiproject.com
Kriti Gupta is an artist and Avinash Maurya is a graphic designer. Both of them are very interested in knowing and understanding the invisible Indian network of communities, castes, livelihoods, skills and cultures. And the intriguing art and craft of hand block printing and natural dyes had it all. They began gathering the know-how of the craft by travelling across Rajasthan and Gujarat and staying with master printers and dyers in different regions. They now run a small printing operation in a rustic shed on the outskirts of Bagru, focused on rediscovering traditional dyeing and printing processes and experimenting with the dye ingredients of Rajasthan. To further the need for education, they also run a series of day long hand printing workshops to spread their infectious appreciation of the craft to others. Generally, both of them are lovers of the process of creation. They like to get their hands dirty and enjoy the state of impermanence around them. Hence, call themselves Wabisabi. They can be found at www.wabisabiproject.com
Walikhanna, Charu,
Charu Walikhanna is a Supreme Court Lawyer and Member of the Executive Committee of the Supreme Court Bar Association. She is a Member of the Inter-Ministerial Committee on protection of Holders of Indigenous Knowledge, Dept. of Education, Ministry of HRD, Govt. of India. Charu is a trained graphic designer from Sir J.J. Institute of Applied Art, Mumbai and a Doctoral Scholar (Law) in intellectual property. Founder and President of Social Action Forum for Manav Adhikar (SAFMA), an NGO working in the field of promotion of human rights and protection of the rights of vulnerable and marginalized sections of society. She has authored and edited several publications.
Charu Walikhanna is a Supreme Court Lawyer and Member of the Executive Committee of the Supreme Court Bar Association. She is a Member of the Inter-Ministerial Committee on protection of Holders of Indigenous Knowledge, Dept. of Education, Ministry of HRD, Govt. of India. Charu is a trained graphic designer from Sir J.J. Institute of Applied Art, Mumbai and a Doctoral Scholar (Law) in intellectual property. Founder and President of Social Action Forum for Manav Adhikar (SAFMA), an NGO working in the field of promotion of human rights and protection of the rights of vulnerable and marginalized sections of society. She has authored and edited several publications.
Wise, Mary Anne,
Mary Anne Wise is an esteemed American textile artist, curator and visionary advocate for indigenous textile traditions. She is nationally recognized as an accomplished weaver, inspired creator of one-of-a-kind hooked rugs, and, as a design teacher. Her artwork is in numerous corporate and private collections throughout the US. In 2009 she co-founded Cultural Cloth to promote sales that support women textile practitioners from around the world including her Guatemalan rug-hooking students. In 2018 she co-authored Rug Money How A Group Of Maya Women Changed Their Lives Through Art and Innovation, an award-winning book that tells the story of her work with Maya rug makers, published by Thrums Books. Wise lives on a century farmstead perched high above the Mississippi river in rural Wisconsin.
Mary Anne Wise is an esteemed American textile artist, curator and visionary advocate for indigenous textile traditions. She is nationally recognized as an accomplished weaver, inspired creator of one-of-a-kind hooked rugs, and, as a design teacher. Her artwork is in numerous corporate and private collections throughout the US. In 2009 she co-founded Cultural Cloth to promote sales that support women textile practitioners from around the world including her Guatemalan rug-hooking students. In 2018 she co-authored Rug Money How A Group Of Maya Women Changed Their Lives Through Art and Innovation, an award-winning book that tells the story of her work with Maya rug makers, published by Thrums Books. Wise lives on a century farmstead perched high above the Mississippi river in rural Wisconsin.
Wood, Sharmila,
Sharmila Wood has worked in the creative and cultural industries in India, the USA, and Australia. She is currently working as a consultant with Craft Revival Trust, New Delhi. Prior to her current position, she managed an Aboriginal Art Centre in Western Australia. Sharmila holds a Master of Art History & Curatorship with Merit from the University of Sydney. She has written for The Australian newspaper, and DRONAH, the Context Journal, India.
Sharmila Wood has worked in the creative and cultural industries in India, the USA, and Australia. She is currently working as a consultant with Craft Revival Trust, New Delhi. Prior to her current position, she managed an Aboriginal Art Centre in Western Australia. Sharmila holds a Master of Art History & Curatorship with Merit from the University of Sydney. She has written for The Australian newspaper, and DRONAH, the Context Journal, India.
Yagna,
Yagna is currently a student of M.A in Social Work, at the Tata Institute of Social Sciences. She finished her schooling from Sardar Patel Vidyalaya and completed her graduation in History from Lady Shri Ram College, Delhi University. She has explored and built an understanding on various issues, such as women in Panchayati Raj, rural livelihoods, role of urban youth, alternative education and so on. She has previously worked with organizations such as Pravah, Kutumb, Mahila Rajsatta Aandolan, SIDH and Foundation for Ecological Security. She is currently doing a research project on the livelihood of Patua artists in Naya village. In the future she would like to explore the use of creative media and its role in social change.
Yagna is currently a student of M.A in Social Work, at the Tata Institute of Social Sciences. She finished her schooling from Sardar Patel Vidyalaya and completed her graduation in History from Lady Shri Ram College, Delhi University. She has explored and built an understanding on various issues, such as women in Panchayati Raj, rural livelihoods, role of urban youth, alternative education and so on. She has previously worked with organizations such as Pravah, Kutumb, Mahila Rajsatta Aandolan, SIDH and Foundation for Ecological Security. She is currently doing a research project on the livelihood of Patua artists in Naya village. In the future she would like to explore the use of creative media and its role in social change.
Zinyu, Kevisedenuo Margaret,
Kevisedenuo Margaret Zinyu is a Designer and entrepreneur. Founder of Studio Predilection & URA Collective Weaving and Industrial Cooperative Society Ltd. she is currently located in Kohima, Nagaland, India. An alumnus of NID she started her journey into craft in the year 2014 having an eclectic influence. A Design initiative, the label Woven Threads by indigenous people of Nagaland to craft innovative high-end loin loom textiles using sustainable materials and zero waste manufacturing process based on indigenous knowledge systems. The label Woven Threads has bagged the World Craft Council - Asia Pacific Region, Award of Excellence 2018 & EDIDA Elle Décor 2020 for fabrics. She is also a coordinator for Tribal Design Forum (Nagaland) which is a community of creative professionals, a craft consultant and trainer in upskilling and a part-time design educator. Her Design Studio collaborates with co-operative societies and like – minded people in sustainable handloom, handicraft sector and livelihood skills involving the younger generation. Her industry experience includes home exports, garment and paper manufacturing, museum & space design, colour and materials for the Car design industry. A firm believer in the leadership potential that youth have and urges that accessibility of indigenous communities to the documented oral traditions has to be made robust to the younger generation. She anticipates that the younger generation can make these aspirations come to life when working in the grassroots, bringing about social change.
Kevisedenuo Margaret Zinyu is a Designer and entrepreneur. Founder of Studio Predilection & URA Collective Weaving and Industrial Cooperative Society Ltd. she is currently located in Kohima, Nagaland, India. An alumnus of NID she started her journey into craft in the year 2014 having an eclectic influence. A Design initiative, the label Woven Threads by indigenous people of Nagaland to craft innovative high-end loin loom textiles using sustainable materials and zero waste manufacturing process based on indigenous knowledge systems. The label Woven Threads has bagged the World Craft Council - Asia Pacific Region, Award of Excellence 2018 & EDIDA Elle Décor 2020 for fabrics. She is also a coordinator for Tribal Design Forum (Nagaland) which is a community of creative professionals, a craft consultant and trainer in upskilling and a part-time design educator. Her Design Studio collaborates with co-operative societies and like – minded people in sustainable handloom, handicraft sector and livelihood skills involving the younger generation. Her industry experience includes home exports, garment and paper manufacturing, museum & space design, colour and materials for the Car design industry. A firm believer in the leadership potential that youth have and urges that accessibility of indigenous communities to the documented oral traditions has to be made robust to the younger generation. She anticipates that the younger generation can make these aspirations come to life when working in the grassroots, bringing about social change.