How India's Rural Regions Deeply Impact the Work of the Local Artists

Pravakar Parida has been working with stones alongside his grandfather and father for decades in Odisha’s Balasore. Stonecraft was passed down to Parida as an ancestral gift. But what shapes the craft is not just the stone, but his village and its surroundings. “This place gives us knowledge about the quality of stone and its many uses,” he says.

Parida and his family work with Muguni stone, which is naturally available in his region. “Because this stone is found locally, it has not only shaped our craft but has also become our main source of livelihood,” Parida, whose Muguni stone craft work was on display in Mumbai’s Bandra last weekend, says.

Such was the curation by Mumbai-based craft curator Aradhana Nagpal for Project Tarasha, a Titan Company initiative, about which Nagpal says, “Everything they (the artists involved in the curation) do is inspired by nature and purposeful. The artists’ work either reflects the material found around them, the colours, or daily life — mostly all of these.”

Across all cohorts over the last five years, starting in 2020, the project has worked with more than 100 craftpreneurs across 20 states, covering over 60 unique crafts. Similarly, this exhibition saw artisans travelling from Maharashtra, Rajasthan, Madhya Pradesh, Telangana, Odisha, West Bengal and beyond — many of whom showcased their work in Mumbai for the very first time.

The regional living and the art that is born out of it

What binds the entire craftwork from such diverse states and regions are those regions themselves, which are brought to life through the work. Talking to Local Samosa, Parida says, “Over time, we have developed a deep understanding of Muguni stone — its strength, texture and durability — which helps us decide what kinds of products can be made from it. While our techniques remain traditional, we are now exploring new products suited to modern lifestyles, while staying rooted in our ancestral knowledge and cultural identity.”

Ramji Marvada, who is involved in Kala cotton weaving, is therefore proud to talk about how the entire Kutch is visible through such woven work. “When we talk about our craft, our traditional motifs have a distinct identity and are different from motifs found in other regions. Along with this, the use of Kala cotton — which is mainly found in Kutch — has a strong influence on our weaving,” he says.

Marvada has inherited the traditions of the region, and that is what he shows in his work. “The material, the motifs and the region are deeply connected, and this connection is clearly reflected in our work. What we weave is shaped by what is available in our area and by the traditions we have inherited.”

East of Gujarat’s Kutch, in Madhya Pradesh’s Dindori, forests, trees, plants, animals, birds, rivers, streams and the changing seasons are easily reflected in the work of Gond artist Kailash Pradhan. “The village is not just my place of birth; it is where my thinking, sensitivity and artistic roots are deeply grounded. The nature I experienced while growing up has stayed with me, and it unconsciously finds its way into every piece I create.”

Popular for its Gond art, Madhya Pradesh's folk tales, and beliefs, the state makes a substantial contribution to the art, its themes, and its soul. "The intricate patterns, repetition, and rhythm seen in Gond art are inspired by everyday village life, the edges of fields, forest pathways, and the pulse of nature itself," the artist says.

Digital contribute to sales, yet physicality remains the core for artists

As artists from various regions travelled to the dream city for the exhibition, many of them have now registered on online marketplaces and platforms, keeping up with the times. For instance, 16 out of 30 artisans registered with Tarasha online increased their sales by 100 per cent, five out of 30 by 50–80 per cent, and eight by 20–40 per cent, according to information shared by Project Tarasha.

Even though Pradhan has started showcasing his work on contemporary platforms, he believes that village life is still the base. “Even though my work is now displayed on contemporary platforms, its essence remains rooted in the soil of my village — its fragrance and its memories. This deep connection to my village gives my work its distinct identity and depth.”

For platforms that also host exhibitions like these, it is still the physicality of the work that draws greater attention from audiences. “Exhibitions like these attract more appreciation for the craft because of its tactility.”

The tactility of the craft, for the artists, remains etched in their roots, sometimes in villages and sometimes in regional artwork. Further east in Madhya Pradesh, Sohrai painting is an art form closely connected to the lives of its native people in Jharkhand. “Forests, hills, fields, animals and birds, trees and plants, the colours of the soil, festivals and everyday life — all of these stay with us and translate into the colours, lines and forms of Sohrai painting,” says Manikchand, another artist who presented at the exhibition.

Belonging to Jorakath, Manikchand shares how Sohrai paintings feature natural colours, symbolic forms and folk beliefs. “The calm environment of the village, the scent of the soil and our relationship with nature teach us simplicity and balance. This art is not just for looking at — it is a way of living, where our lifestyle, culture and traditions together shape our creations,” he says, speaking to Local Samosa.

Working with such artisanal communities, hence, the curator Aradhana Nagpal echoes their sentiment. She says, "There is wisdom in tradition."