The Fuschia Tree
Editor's Note.
Every sunbeam, every strain of music, every sapling and starfish is ultimately the regeneration of a previous something, a collection of somethings, taking on new shape. At the most indivisible level we can comprehend, all life is nothing more than atoms and molecules dancing their way through various forms. And if everything comes from something, it stands to reason that everything must go to something as well.
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Of Anima and Abstract: In Conversation with Gayatri Shantaram.

By Varsha Reshamwala, Issue 26, Illusion: Seeing Beyond Seeing.
My creative process usually starts at night. I do not paint every single day. I often go through weeks or months without painting, and then suddenly I paint without stopping for weeks...

From King To Prince, With Love

By Waylon D’Mello, Issue 17, Love, February 2013
The piece below is an imagined reverie between two lovers who live on separate continents. I use the form of love-letters as a window into the candid space that only the people experiencing...

Aradhana Seth: On Rearranging The World Around Her.

Issue 16,The End is Where We Start from II, January 2013
Aradhana Seth is a designer, filmmaker, artist and wonder-seeker. Daughter of Leela Seth and sister to Shantum Seth and Vikram Seth, she paints a family portrait and places herself ...

Dr. Alka Pande: On Walking With The Erotic Ascetic.

Issue 16,The End is Where We Start from II, January 2013
Hushed whispers and embarrassed giggles forced me to give up my race against time as I was preparing for the more complex final examination on Indian aesthetics...

T & T: On Dreams Too Elaborate To Explain, Dreams Dreamt Well And The Possibility Of Always Dreaming.

By the duo of style, satire and sanguine spirits, Thukral & Tagra.
1. How did the two of you meet? What were you wearing? We met at the Chandigarh College of Arts, 1997. It was during an interaction where Jiten pretend to be a fresher and Sumir was applying for a course. Jiten was wearing a fictitious laugh, and Sumir was in a intimidating bob!

Transgressing The Icon.

By Shaheen Ahmed, Issue 10, Traveling Art, May 2012
Imagine the big suitcase, or now in the age of globalized commodities, Louis Vuitton trunks, packed and placed on a road, as they portray travel in the glossies and the billboards, and voila!

World’s Away.

By Janice Pariat, Issue 8, Mythological Art, April 2012
At heart, the circus is a place of stories – of travel and ragtag nomadic flights, of carnivalesque joy and careful performance, of sad/smiling faces and masks, masks, masks.

An ordinary encounter with the Extra Ordinary.

By Parni Ray, Issue 7, Text Art, April 2012
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

The Pea And The Princess.

By Lara Sinha
Her giant plastic head with large, tear-shaped eyes and no mouth (voice) reveals, beneath the humor, a grim outlook on a world where it is difficult to be oneself.

Of Drawings, Spaces and Machines.

By Oindrilla Maity
The artist plays with this natural instinct. He lures, controls, guides. He dodges, seduces, tricks and transforms ‘realization’. He allows negatives areas to become part of his subjects. He imagines beyond

I Love Therefore I Am.

By Janice Pariat
our body is history. inked with lines of joy, orchestrated, a symphony entirely our own. it bears the scars of our defeats. our infinite failures. carved in stone.

Wallpaper and Bed Sheets: The Thing In Between.

By Himali Singh Soin
The stew is ready and the table is set. The forks and spoons are silver, but they bend like plastic. The bedroom door is open. There is nobody here.

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.