Unraveling the Artistic Threads: An Interview with Snigdha Tiwari
by Sakina Ahmad
Snigdha Tiwari is a Delhi-based artist whose work weaves together a rich tapestry of creativity and personal narratives. Known for using textiles and fabrics in her art, she has been featured in prominent group exhibitions like Immerse (2022), The Cadence of Free Fall (2019), and Art Asia (2018). Her artistic growth is further highlighted by residencies at both 1ShanthiRoad’s Space 118 in Bengaluru and the Cona Foundation in Mumbai. Tiwari, a finalist for the 2022 Emerging Artist Award South Asia, holds a Master’s of Visual Art in Painting from Maharaja Sayajirao University of Baroda and a BFA from Delhi University’s College of Art. In this interview, she opens up about her artistic journey, inspirations, and methods of using textiles, fabrics, and threads as a medium for self-expression.
This interview has been edited for clarity and brevity; for the full audio recording, please refer to the bottom of the page.
Can you tell us about your early influences and your transition into textiles?
I began my artistic journey with painting, a path set by my parents when they handed me a brush. However, I had always been intrigued by sewing, viewing it as a utilitarian activity. It wasn’t until my college years, when I delved into the works of renowned artists worldwide, that I discovered the potential of threads and fibers as a medium of artistic expression. This artistic awakening led me to explore the diverse possibilities of these materials; that is where it all started.
One pivotal influence during my academic journey was Mrinalini Mukherjee, an Indian art practitioner who redefined weaving from a craft into a tool for fine art. Mukherjee’s sculptural artworks, often inspired by deities and the natural world, shaped my perception of textiles as an artistic medium. I was also looking at Sheila Hicks, an artist who crafts large-scale sculptures and tapestries from various threads. This is when I really started believing in the sculptural possibilities of textiles (fig. 2).
How does your background in painting influence the way you capture organic essence in your art?
My journey from painting to textiles was driven by my fascination with the tactile nature and three-dimensionality of materials. I didn’t connect that way to any other type of painting because I didn’t enjoy them, and there was a kind of flatness to them. Materials like natural fibers or wool are profoundly tactile and have a body of their own, possessing characteristics that painting can’t replicate. My artistic process is a dialogue between myself and the materials I use, where sometimes the material takes the lead and at other times it’s guided by my artistic vision.
How have artists who explore deities, higher powers, and spirituality influenced your own creations?
My work draws inspiration from artists like Mrinalini Mukherjee, who has explored themes of spirituality, deities, and the interconnectedness of beings with the natural world. While I appreciate the spiritual dimensions in other artists’ work, my current connection is more with the inherent power and identity of the materials themselves. My spirituality lies in the respect and reverence I hold for the materials I use. I believe that even everyday materials like plants have stories, and my art aims to highlight these, respecting the essence of the materials as my form of spirituality.
Your project “Dearest” critiques digital identities and self-perception. Could you elaborate on how the theme of threads, along with the interconnectedness and unity found in textiles and woven materials, plays a role in this project?
“Dearest” is an ongoing project that I see as a constantly evolving narrative (fig. 3). It critiques digital identities and self-perception, embodying the concept that objects and materials hold a part of us, linking physically to our memories and experiences. This physicality stands in stark contrast to the digital world’s intangibility. “Dearest” is like a tree, with each artwork representing a branch connected to my life’s journey, evolving with my past and present experiences and the dynamic interplay of personal, social, and political influences in our lives.
The theme of “threads” resonates deeply with my artistic journey. The constant strand or the thread that runs through all these artworks is my personal interpretation of these experiences. This thread, whether altered or left in its authentic form, intertwines my narrative and artistic exploration. It mirrors my dedication to exploring the depth and possibilities of my chosen materials, while also addressing my personal concerns and interpretations. As I continue to unravel and reweave these threads, my art evolves into a dynamic tapestry, rich with my experiences, viewpoints, and ever-evolving artistic ambitions.
Could you describe your artistic process?
My artistic process involves a constant back-and-forth between myself and the materials I work with. At times, the materials themselves lead the creative process, inspiring the narratives I craft. Other times, I seize control to express my vision more directly. This process involves extensive experimentation, including manipulating materials and preparing them with techniques like dyeing, the Bhati technique, and knotting. I also incorporate a variety of materials, including papier mâché, synthetics, and organic materials to create diverse narratives.
Could you elaborate on the blend of synthetic and organic materials in your work and share your perspective on the impact of modern, synthetic-focused textile production on traditional practices?
I’m not extensively using traditional practices, but the materials I use, like a specific kind of hemp rope, are becoming rare due to the rise of synthetic rope production. This hemp, once native to India, is now dwindling. I use these ropes, braiding the fiber into rope entirely by hand, from extracting the fiber to producing the final rope. It’s a dying industry, but deeply local and rooted in Indian soil. I’ve also extensively used jute fiber, dyeing it in various ways to express my concerns and ideas. Additionally, I’ve worked with materials like wool and cotton, employing dyeing processes, including experimenting with pomegranate dye. This particular work creates an overlap of synthetic and natural dyes, serving as a satire of our lives, where organic materials are often overshadowed by synthetics. Even the jute fiber I use sometimes contains plastic, which I keep as it reflects our current reality. Through experimentation, I’ve faced many failures, but I’m eager to delve deeper into natural dyeing processes that are indigenous to India. My goal is to learn and preserve these traditional methods, which are at risk of disappearing (fig. 4).
What are your broader artistic philosophy and goals? What kind of experience or understanding do you hope viewers derive from it?
I think I’m in discovery mode right now, realizing that each of my works, deeply personal and significant, speaks about different aspects of myself. One particular work, Fish Slice, stands out vividly in my memory (fig. 5). It began with orange yarn on my frame loom, to which I added raw cotton fiber, contrasting with the processed wool I usually use. The outcome was astonishing, resembling the skin of a fish, and this piece holds a special place for me. It marked a turning point in my artistic journey, opening my eyes to the myriad possibilities and narratives inherent in the materials around me. This realization has encouraged me to dive deeper into storytelling through these materials, making Fish Slice not just a personal piece but also a catalyst for a more detailed and conscious exploration of my surroundings.
My main aim is to showcase the expressive potential of materials to audiences, often surprising them with the innovative ways materials can mimic textures like skin or hair. I focus on personal narratives, especially mental health concerns, and aim to raise awareness about issues like Seasonal Affective Disorder. Since weaving has been a therapeutic process for me, I would like to celebrate it and I would like to take it to people. I’m committed to bringing these personal and mental health narratives to a wider audience, using softer mediums like textiles to express themes that might not be as effectively conveyed through more rigid forms like stone sculpture. My goal is to reveal the unexpected possibilities of materials and discuss important topics through this unique approach.
What do you hope to explore more in your practice, and what do the next few years look like for you in terms of your artistic work?
One of my goals is to explore the scale of materials. Currently, I’m focusing on developing large-scale artworks and exploring the scale of materials. My future projects aren’t strictly defined, as my artwork tends to be immediate responses to my experiences. For instance, my project Black Rain critiques governmental policies and their short-sighted approaches to issues like acid rain and pollution, highlighting the cyclical nature of these problems. This project, among others, reflects my ongoing concerns. I’m also eager to learn more about dyeing techniques and to discover lesser-known materials and skills in different areas of India. Over the next two years, I see myself deeply engaged in experimentation, exploration, and learning from the resources around me.
Listen here for the full audio recording of the interview:
____________________
Sakina Ahmad is a communications professional with an MA in Art and Museum Studies from Georgetown University. She excels in marketing for artists and cultural institutions, merging design and writing to create meaningful content. Currently, she is the Assistant Manager of Marketing and Content at the American Alliance of Museums.
____________________