Shubhi Gupta in Conversation with Emerging Indian Textile Artist, Viraj Khanna
Viraj Khanna’s embroidered work, textile patchwork and heavy use of personal motifs highlight Indian traditional handloom and textile heritage through his solo show Ineffable at India Art Fair 2023. A reasonably new debutant in the Indian art scene, Khanna expresses his creativity in unconventional ways through traditional Indian materials. His textile-laden spectacles encourage viewers to think about relationships in their lives and correlate them with their ideology and behaviour.
In an interview with MADE IN BED Magazine, Viraj Khanna elaborates on his artistic techniques, childhood memories and the Indian contemporary art scene. Being the son of a renowned atelier, Anamika Khanna adds to Viraj’s proximity and deeper understanding of Indian fabrics and thread detailing.
Viraj Khanna. Image courtesy Verve Magazine.
Shubhi Gupta: Where do you primarily draw your inspiration from and apply it to your textile art-making practice?
Viraj Khanna: I got into my family's clothing business after graduating from college in 2018. I started looking after more of the managerial and business side of things and our business's embroidery section. This helped me develop a deep understanding of different techniques of embroidery. These techniques are not new to the Indian craftsmen, but coming from a business background made it a challenging task.
I am taking the techniques I have learnt and using them to create contemporary figurative work. From being used as patterns, structures and different motifs on clothing items, I am using them to make embroidered wall pieces, giving them a contemporary spin. To take a practice that has been used for centuries and do something different was quite interesting and challenging. But the process is always exciting since there is constant experimentation during the creation of the textile.
Untitled, 2023. Image Courtesy Tao Art Gallery & Architectural Digest.
SG: From a businessman to an artist. How did you decide to make the diversion from textile to canvas?
VK: Interestingly, it was canvas and paper first before textile. I was always surrounded by textiles growing up. I never really thought of becoming an artist. During the lockdown, our fashion brand required content for our Instagram page. We had nothing to put out there, so I started to make paper collage works at home. I cut up hundreds of magazines, took different elements from everywhere and started putting everything together. That’s how I made my first collage.
I started doing this all day during the lockdown and shared them on Instagram. This gallery owner from Kolkata- Somak Mitra from Art Exposure- saw them and called me to meet him. He asked me to do a show. So, I was asked to create a show without ever really creating a painting. I took it up as a challenge and did my first show, which was highly appreciated, and commenced my journey as an artist.
Untitled, 2023. Image Courtesy Tao Art Gallery & Architectural Digest.
SG: Most artists follow a process. Others simply draw on their instincts. How would you explain your start-to-end practice of creating an artwork?
VK: When I create a work, I usually think about people in my life. My art reflects the world in the way I see it. I like to capture different behavioural traits and perspectives of people and then use the conclusions to create my figures. The idea of how society affects people in many ways is particularly fascinating to me. Masking our true nature as humans and as a means to fit in with society is unique. We are always putting on a show and creating perceptions trying to create narratives about ourselves. My work largely depicts all of these particular observations. It aims to make the viewer think deeply about the people in their lives. Azerbaijani artist Faig Ahmed and Indian sculptor Mrinalini Mukherjee are massive influencers of my illusionistic work.
Continuously thinking about people in this manner helps me introspect. It serves as a reminder to me to be myself. As a viewer, I also look at different works and think about the person creating the work. For example, I absolutely love T Venkanna. His work depicts so much freedom. The artist himself is freely able to put out the freedom he feels. Art, for me, is a desire to feel a certain way.
Untitled, 2023. Image Courtesy Tao Art Gallery & Architectural Digest.
SG: Can you elaborate on your exhibition at Tao Art Gallery at the India Art Fair at the beginning of February 2023? How do you think it stands out amidst the ocean of contemporary art surrounding the Indian art market now?
VK: Whether or not my art stands out amidst an ocean of contemporary art is not for me to judge. Of course, I want to keep evolving as an artist with time, but as of now, I have put my best foot forward. I have experimented deeply with textiles, and people will be able to see the detailing and intricacies of the work at the fair. Various elements and techniques are used in the work, be it resham thread, kala dori, rope, sequins, moti work, etc. There is also a massive installation with a fibreglass sculpture which was the eye-catcher at the fair.
Untitled, 2023. Image Courtesy Tao Art Gallery & Architectural Digest.
SG: How do you perceive the growth of Indian contemporary art on a global scale?
VK: The Indian contemporary art market is definitely on a steady rise. There is an appreciation of Indian art as it makes its way to international platforms such as Art Basel and Venice Biennale. In addition, there are record-breaking sales for Indian art on online auction platforms post covid. Contemporary art in India has evolved later than in the West; thus, the market isn’t saturated and, in fact, has a lot of scope and potential.
Untitled, 2023. Image Courtesy Tao Art Gallery & Architectural Digest.