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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Going Under with Umeed Mistry.

By Aneesha Bangera, Issue 27, Regeneration: Revolving Growth
I started taking photos underwater with the intent of bringing the beauty of the ocean to people who do not dive. At the most basic level, I want my images to inspire a sense of awe...

When The Screams Jumped The Balcony.

By Kurchi Dasgupta, Issue 25, Meaning: In Search of Significance.
Meaning rarely makes itself apparent with any degree of clarity. More often it takes on frustratingly insidious forms that are incongruous and, at times, downright inappropriate. Different artists explore different mediums to convey their truths.

The Apparition of These Faces.

By Simran Bhalla, Issue 23, Wonder: Between Nature and Art.
Looking at an image of someone looking at another image: it’s enough to make Roland Barthes do a double take. He wrote of photography as “mimicry”, and not the truest representation of humans...

A Cosmic Amplitude: CAMP

By Meara Sharma and Henry Peck, Issue 22, Inertia: Being Both At Once.
Imbued with seemingly endless possibilities, the name CAMP comes to mean nothing. Or rather, it means everything. CAMP resists inertia (instead, it aspires toward infinity)...

Antique Pixels.

By Veeranganakumari Solanki and Nandan Ghiya, Issue 22, Inertia: Being Both At Once.
The new aesthetic! Re-inventing the known, challenging the confirmed, making you think, not letting you be, and creating new comfort zones only to push you back into the uncomfortable earlier known console...

Everyone Has Dreams.

By Angela Jane Evancie, Issue 22, Coincidence: Fortune's Strange Math.

This is a story about the places that we go, or that come to us, when we are asleep. This piece is about the coincidence between four sets of people, from four continents between four sets...

In Search of the Circle.

By J McDonald, Issue 16, Squares & Circles Issue, December 2012
We find something like a circle in the rings of a tree, in the structure of a cell, in the shape of our planet. But we do not find the particular thing that we have come to call a circle outside of the realm of our own creation. More than anything, it is a concept.

Elaborate Sex Games of the Inanimate.

By Avni Doshi, Issue 16, Squares & Circles Issue, December 2012
A mosquito sits on the surface of the skin, inserts its syringe through layers of skin and draws out blood. Satiated, it flies away, leaving an itchy trace, a painful bump. Your mother will tell you not to scratch, that scratching makes it worse, that scratching will leave a mark.

9 Steps to discovering the real Gravity of Black Holes (and how to make your own).

By Sahill Poddar, Issue 15, The Light & Dark Issue, November 2012
Light allows us to see, perceive and experience the optical world. This same light, however, can play foul when we attempt to comprehend its inverted partner, darkness.

The Cheese of our Imaginations and The Wheat of our Lives.

By Himali Singh Soin, Issue 15, The Light & Dark Issue, November 2012
A lot of your work deals with the cosmic, the metaphysical and the larger ideas of religion, truth and death. This same work will, almost eerily, straddle the concrete: in the case of Epilogue, it is rotis, but in the case of say, Public Notice 3, it was numbers, a symbol of man-made measure.

The Binaries of Becoming.

By Prakriti Mukerjee, Issue 15, The Light & Dark Issue, November 2012
Every City has its secrets... but Calcutta, whose vocation is excess, has so many that it is more secret than any other. Elsewhere, by workings of paradox, secrets live in the telling: they whisper life into humdrum street corners and dreary alleyways; into rubbish-strewn rears of windowless tenements and the blackened floors of oil bathed workshops. But here in our city where all law

The Ghosts of Industry.

By Angela Jane Evancie, Issue 14, The Non-Fiction Issue, October 2012
This was a place for machines, once; empty now, the inhuman scale of the walls and ceilings shrunk us to almost nothing.

Resurrection: Sheba Karim and the intentions of history.

By Sheba Karim, Issue 14, The Non-Fiction Issue, October 2012
In my research for Razia, the ‘truth is stranger than fiction’ adage often comes to mind. There was a lot of madness in medieval India! Truth, of course, is never limited by possibilities. If something is ‘true,’ then people immediately suspend disbelief—if it’s actually happened, what is there not to believe?

Something Not Exclusively Art.

By Anirudh Karnick, Issue 14, The Non-Fiction Issue, October 2012
In the debate between art for art's sake and art with a (sociopolitical) purpose, what is ignored is that most people to whom art (in any form) matters use it for 'life's sake'.

Dreaming Art: Kartik Sood

By Kriti Sood, Issue 13, The Fiction Issue, October 2012
He would wear different colored socks… He loved wearing costumes and acting parts of characters he found on the street.

Keeping Time in a Freezer

By The Fuschia Tree, Issue 12, The Chance Issue, September 2012
Prajakta Potnis' surreal photographs inside refrigerators, which becomes a metaphor for an environment that is completely controlled, and therefore an atmosphere where neither nature nor...

Real Myth.

By Veeranganakumari Solanki, Issue 8, Mythological Art, April 2012
I feel the subconscious is aware of, and holds, deeper truths to life and existence that are not always physical but exist nonetheless deep beneath our social obligations and reflections.

An Epic Transformation.

By Waylon D’Mello, Issue 8, Mythological Art, April 2012
Tejal instructs Arjuna to disrobe and stand against the pink wall on the far side of the room. Urvashi looks on from the distance as Tejal unfolds a three-legged stand and proceeds to mount an immortaliser onto it.

Skin Writing.

By Kalavati Kumari, Issue 7, Text Art, April 2012
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.

Girls, Goats And Birkin Bags.

By Simran Bhalla
We are cautious and self-aware, and our risks are safe ones: no one has slammed the proverbial (or actual) dead parrot against a shop desk, insisting it’s still alive, for a few decades now.

A Letter on-shore.

By Waylon D'Mello
You know, that feeling he talks about when you look over a ledge, when the fear is not of falling but of the secret craving to accept the invitation that the space below has just extended you.

Birthday Blues.

By Rosalyn D'Mello
This piece hopes to engage with the ideas of the intangible and the immeasurable, both of which punctuate any relationship; and the unspoken, unsaid, and unheard 'matter' which informs its historical past, present and


By Parni Ray
B(l)ending Lines: New Fictions and New Realities I am on my way to the KHOJ studios in Khirkee village. Huddled in a corner amid the meager mid-afternoon crowd on the ladies compartment of the metro...


By Janice Pariat
Some cities have their writers. Lisbon, for instance, will forever be Fernando Pessoa’s ~ steeped in the saudade of his words, frozen by his poetry, restless as the disquiet between his journal pages. Paris is haunted by the ghost of Hemingway, tied to his heart and bleeding sweet, bitter wine.

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.