Achara— reimagined as a vibrant medium for narrative and spatial exploration in the exhibition Folding/Unfolding- The Achara Chronicles, curated by Arshad Faruqui. The curator focuses on highlighting principles of repurposing, thereby reflecting on the recurring nature of artistic creation. Within the courtyard of Copper and Steel a collaborative effort unfolds among architects, artists, and designers, each offering unique interpretations of the fabric with its intricate patterns. This interdisciplinary interchange forges new meanings and networks as the layers of achara evoke diverse responses. The interaction between material and space is central to the exhibition with the courtyard and its entrance acting as a backdrop for these narratives. Every installation becomes an experience. The achara not only retains its historical significance through the exhibition but also gains new life; commending the rich interplay of creativity and sustainability. The center-staged achara, which is a traditionally utilitarian fabric fundamental to the art of block printing1, is recognized and revered for its role as a support material, dually serving as creative process and artistic expression in this exhibition.
Composed of thick cotton, the achara serves as a foundational layer underneath the block printed pieces in block printing studios offering padding to ensure uniformity whilst absorbing residual dyes that permeate the fabric (Bracken, 2020). As the chhipa 2 raises the block printed cloth, the achara unveils itself embellished with subtle variations of patterns arising from the fresh application of blocks and dyes. Each layer of block printing on the achara captures a story, memorializing and commemorating moments and experiences through its surface. Over time, the repetitive patterns communicate a rich tapestry of encrusted impressions as motifs intricately tango and intersect across its once-blank stretch. This transformation morphs a functional piece of unbleached cloth into an unanticipated work of art, an interaction of materiality and creativity in contemporary discourse.
Sourced from KOEL3, the fabric breathes new life into the stories of the past, inspiring eleven creatives from diverse fields to respond to its essence. Through their contemporary installations these artists reinterpret the achara, bridging the gap between heritage and modernity and by inviting onlookers to engage with the fabric’s journey in a renewed and transformative way.
As soon as one enters Copper & Steel, the installation Scroll by Ayesha Sarfraz and Omer Ehtisham instantly invites audiences in its intimate space. Especially as dusk descends, the complex interplay of textures and diminutive photographs summons viewers closer, inviting them to engage with the work through a magnifying glass suspended next to the sizable scroll.
To entirely experience the vertically arranged images, spectators must mechanically rotate the scroll, submersing themselves in a tactile journey that transforms passive reflection into active participation. This experience incites a deeper connection with the installation, accentuating the intricate relationship between art, perception, and engagement. The duo references Susan Sontag’s exploration of desensitization to human suffering. Scroll embodies her critique from Regarding the Pain of Others4. By transforming a seemingly ordinary and mundane digital ritual of scrolling into a tactile experience the artists capture the ephemeral nature of important social issues in our digital age. The rhythmic movement of the scroll paired with the muddled strokes of dye on the achara serves as a metaphor for the overpowering and overwhelming pace of modern life while elusive images of contemporary strife lie secreted within the visual furor— emerging only upon deliberate focus through a magnifying lens. This interactive constituent forces viewers to acknowledge a world saturated with images, emphasizing the tension between awareness and apathy in today’s unrelenting media landscape. Scroll serves as a reflection on our engagement with suffering, forcing us to navigate the fine line between involvement and detachment.
In the main courtyard, Kiran Ahmad and Saifullah Sami’s installation Imprints And Silhouettes draws the onlooker with its intermingling of achara and scaffolding, two inconspicuous materials that evoke a dialog with the site: ‘an iterative process of making and unmaking materializes as a conversation between the achara and the site’s essence as a nature-filled enclave5’. The full-scale artwork captivates audiences with its overpowering presence, with the descending dusk enveloping it in a mesmeric aura of mystery. The significantly positioned installation captures waiflike shadows during the day and transmutes with artificial light at night, echoing the surrounding environment. It invites viewers into an introspective experience, emphasizing the interaction of texture, light, and space, creating a dynamic exchange that resonates throughout the enclosure.
Transitioning from this meditative space, we find ourselves in the covered courtyard where Ali Reza Dossal and Seema Nusrat’s installation In-Flight awaits. With its suspended lamp structure inspired by the rhythmic motion of bird wings the work emphasizes a cascading effect where each movement initiates a responsive sequence, evoking a sense of flight. Fabricated from mild steel, wooden ply, and crafted fabric, the installation transforms stationary illumination into an interactive experience, engaging viewers to experience the intricacies of kinetic design.
As onlookers approach the alleyway of the Blue Courtyard, they encounter the canopied installation Achara – a palimpsest of stories. This work offers a profound exploration of forgotten beauty, elegantly representing nature in various forms. The canopy, reminiscent of ethereal clouds, perhaps serves as a metaphor for fleeting memories, while the organically arranged cotton on the ground symbolizes boulders, grounding the viewer in the narratives that resonate with the stories of the past. The makers of this artwork, Aisar Abbas, Dabeer Hemani, and Mariam Nabi, reflect on, and highlight, cotton as an unpretentious fabric which transforms from an overlooked and overworked canvas into a vibrant archive of stories and colors. ‘The cloth once destined for obscurity and disuse becomes a canvas of hope—a reminder of the beauty in reimagination’ ruminate the trio, with each organic form functioning as a reminder of resilience, pressing us to see the concealed narratives beneath the layers of life.
The exhibition ends at the tranquil Lotus Courtyard with the installation Boundary Space by Seher Naveed and Salman Javed who skillfully investigate the chemistry of industrial and organic elements. Employing repurposed polypropylene and cotton fabric, they construct a dialogue around harmony and contrast. The rigid polypropylene juxtaposes the placid cotton, welcoming viewers to experience the textured apposition. The work not only highlights the cohabitation of materials and nature but also stimulates contemplation on how they influence perception in art and life.
Folding/Unfolding- The Achara Chronicles artfully interweaves the historical significance of hand printing with contemporary interpretations, representing the achara as both a functional and artistic medium. Through installations that repurpose and recycle, the artists highpoint the ongoing dialogue between traditional craftsmanship and contemporary design. Each body of work captures the essence of achara—documenting memories and stories etched onto the fabric through time. The transformations of achara from a functional support material to a vibrant canvas of expression resounds deeply with, and acknowledges the beauty of, overlooked textiles— pushing the boundaries of artistic creation while commemorating a rich heritage that remains relevant in today’s discourse. In essence, the exhibition embodies a harmonious convergence of past and present, pressing us to reflect on the cyclic nature of art and the timeless narratives woven into textiles.
The group exhibition ‘Folding/Unfolding: The Achara Chronicles,’ curated by Arshad Farooqui, was showcased at Copper & Steel from November 23 to November 30, 2024.
All images are courtesy and copyright of Haya Farooqui and Copper & Steel.
Title Image: ‘Imprints and Silhouettes’ (detail), Kiran Ahmad and Saifullah Sami, achara cloth and scaffolding, size variable, 2024. The suspended “latha” cloth surface receives layered shadows of foliage and lighting.
Bibliography
Block printing (wallpaper and textiles). (n.d.). Retrieved from Heritage Crafts: https://www.heritagecrafts.org.uk/
Bracken, R. (2020, October 30). Achara Artistry. Retrieved from Anokhi Museum Blog: https://anokhimuseum.wordpress.com/
Global Threads: The Art and Fashion of Indian Chintz. (2023, January). Retrieved from Saint Louis Art Museum : https://www.slam.org/
Hashmi, S. Q. (April-June 2022). Hand Block Printing: The Ancient Craft of South Asia, Vol. 3, No. 2. Journal of Development and Social Sciences, 38-47.
Sethi, R. (n.d.). Past-Continuous: Block Printing on Textiles in India . Retrieved from Arts & Culture: artsandculture.google.com
The history of the Chhipa (CHHIPA) caste. (2023, September). Retrieved from Lal Chand Derawala : https://lcderawala.in/
Endnotes
- Block printing serves as a reflective expression of cultural and social trends throughout history . The perseverance and devotion of countless unnamed artisans has entwined a rich tradition of this exquisite art form— celebrated as a ‘symbol of indigenous art’ (Hashmi et al, 2022). Not only does block printing stand as one of the oldest crafts known to civilization, but it has also laid the institution for textile printing that has since transcended geographical boundaries. This technique has undergone momentous development over generations. The craft of block printing evolved through centers in pre-partition India, utilizing seemingly simple yet sophisticated tools, including intricately carved blocks and a profound understanding of plant and mineral dyes. Artisans mastered a variety of dyeing techniques, comprising resist and reserve methods, empowering them to produce a diverse palette of colors and patterns. This proficiency and mastery enabled craftsmen to cater to a wide clientele, from royalty to commoners, and for religious use, and trade— block printed fabric was highly sought after, outside of the region as well. Up till the eighteenth century, majority of the hand printed cottons were imported to the United Kingdom, from India, for the elite and affluent classes. Each cohort of artisans, over time, has contributed to its refinement and artistic rigor, safeguarding this time-honored practice which continues to flourish. In essence, block printing captures a dynamic dialog between past and present, exemplifying both cultural heritage and creative advancement.
- The term ‘Chhipa’ derives from the Rajasthani word “Chhapa,” meaning “to print.” Chhipa, or Chhima community, a professional caste found in India and Pakistan, specializes in dyeing and printing fabrics. In India, they are primarily located in Rajasthan, Gujarat, Haryana, and Madhya Pradesh, where many continue their traditional craft through local businesses and textile mills. The Chhipa community, which originated in Rajasthan, later spread to other states, and in Pakistan, they are mainly based in Karachi and the Sindh province. https://lcderawala.in/
- Noorjehan Bilgrami, founded KOEL in 1977 to revive hand-block printing, which spurred the establishment of numerous stores and workshops, the brand uses exclusively designed silk and cotton sourced from master weavers. The brand’s distinctive apparel and naturally dyed fabrics have been showcased in exhibitions across multiple countries, further popularizing these artisanal crafts.
- 117 pages, Paperback, January 1, 2004 by Penguin Books, Limited (UK). ‘Regarding the Pain of Others’ is also available online, https://monoskop.org/images/a/a6/Sontag_Susan_2003_Regarding_the_Pain_of_Others.pdf
- Artists’ statement
Saira Danish Ahmed
Saira Danish Ahmed is an art critic and independent curator with a postgraduate degree in Art & Design Education from the University of New South Wales, Australia, and another in History from Karachi University. Her primary interests lie in art history and academic writing. With over 25 years of experience in academia, she has worked with some of Karachi and Lahore's leading degree-awarding art colleges. Ahmed aims to develop practical methods to bridge the gap between academic curricula and the design industry, both locally and globally. She is an active member of Karachi Biennale Discursive, a critical knowledge lab of the Karachi Biennale. In 2021 she founded The Karachi Collective in order to create a discourse and scholarship on Art, Design and Interdisciplinary Humanities. She serves as the Editor in Chief and is an active member of the Editorial Board comprising of five global representatives.
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