1 Eclipsed Processes

2 the publication Eclipsed Processes is available at the Swiss National Library

Kalamkari at Vijaya Bandar workshop, Pedana, Andhra Pradesh, India

4 final textiles with the idea of dissecting the floral pattern

5 about the history of the floral pattern: a non-existing hybrid flower that has evolved from commercial exchanges between Europe and India throughout history
book source: Deux siècles d’indiennes

6 working at Vijaya Bandar

7 the textiles arriving in the Netherlands

8 a small peak of Pedana village

9 Srikanth Sajja (the son of the unit’s owner) and me displaying some of my printing experimentations

10 project presentation during Dutch Design Week 2019

03. Eclipsed Processes (Hybrid flowers and cultural exchange)

Eclipsed Processes (2019, Graduation Design Academy Eindhoven) is dedicated to unveiling the manufacturing process of Kalamkari (traditional Indian block printing).

The project emphasizes the importance of giving a voice to surrogate ways of production in order to invent a future in which smaller and more sustainable production methods can be enhanced.

The Kalamkari Art issue introduces the technique of Kalamkari, a highly sustainable textile block printing and natural dyeing craft originated from Southern India. It is the result of a collaboration with Vijaya Bandar Kalamkari House, based in Pedana, Andhra Pradesh, India.

During a week, I have worked with artisans specialized in the craft in India. Together, we produced a printed textile that displays what the technique steps are and puts the historical values of the pattern in the center of the design. Indeed, the floral patterns present in Vijaya Bandar’s archives are representative of the historical commercial exchanges between Europe and India. The printed flower doesn’t exist in reality but is the product of the printers’ imagination. It has evolved based on the fantasized visions Europe had on India’s flora and vice versa. The floral pattern as a symbol of the imbedded cultural mixes in artistic productions was at the center of the textiles that the artisans and I developed

The expression of the craft through the final printed textile is completed by the explanation of the craft’s context and history in the magazine. The publication becomes a platform for discussing issues that can’t be addressed with the material translation of the project. In four chapters consecutively called The Context, The Technique, The Unit, The Exchange and The Application, the magazine uncovers stories and topics ranging from the history of the craft to the colonial histories hidden behind the floral patterns engraved on the wooden blocks.