The Fuschia Tree
Editor's Note.
Art that utilizes words as its 'paintbrush' is particularly intriguing: as opposed to an abstract stroke and a symbolic color, text is codified, sending great big brainwaves of pre-conceived associations. Its foundations lie in a system of signs and signifiers, with sounds and symbols that represent each word, syllable and letter.
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By Waylon D’Mello, Issue 7, Text Art, April 2012
In the tree-shadowed building of the prep section of The Bishop's School in Pune, we used pencils until the 2nd grade. As the monsoons approached in the first week of June, it was a rite of passage for boys entering the 3rd grade to take a trip to the stationers to buy their first ink pen. At the end of the first week, every boy, save for prissy me, had been berated for a Royal Blue ink stain, traditionally azure (Hex#002366) at its centre, fading outward into the terrible web version (Hex#4169E1) at the bottom of the breast shirt pocket of the starched white uniforms that we wore to class everyday.

Also in this issue

  • Skin Writing.
    In defiance of the archaic, oppressive system, the tribe decided to tattoo the name ‘Ram’ all over their faces and bodies: a voiceless declaration of faith and its reclamation.
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  • An ordinary encounter with the Extra Ordinary.
    Calm yet vocal, sentimental yet witty, Hema’s Extra Ordinary is likely to linger in your mind and remind you of the essentially fragmented nature of everyday city life and your own multiple selves, perspectives, disorders
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  • The (un)Pretentious Basterds.
    These Basterds are unapologetic. To quote 'An Introduction': “that would be perspective and THIS is propaganda”.
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Illusion: Seeing Beyond Seeing
Meaning: In Search of Significance.
Melody: A Different Tune
Rhythm: Ordering Time

Dhrupadi Ghosh is an old friend of mine. We have often had long sessions of adda late at night, discussing her dream projects since her college days at Santiniketan, where she majored in Sculpture.