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Balkrishna Girkar, an experienced artist from Konkan, derives his inspiration and ingredients from the soil itself.Ever heard of conceiving images after meditating Anjali Raju excels in that.Anish Wakade likes to keep it conservative and uses watercolours to paint the traditional. Like the wood, Lord Ganesha is tough, and like the jute cloth he is unpretentious, yet elegant. Vijayalaxmi’s single tone paintings recall the traditional stone and wood carvings and are pleasing to the eyes. Though Madhubani is a time-honoured tradition, Bhiwandikar adds a dab of her own. You can create any form by retaining the elephant face and the disproportionate body and people will recognise it," says artist Arun Amberkar, on why Lord Ganesha is a favourite for experimentation.Amberkar creates his Ganesha sculptures from wood. Amberkar sticks to the basics. Her "metaphysical" paintings as she puts it are the product of Sahaja Yoga meditation.So, one sees Bal Ganesha and the mouse performing the Surya Namaskar, the little mouse combing Bal Ganesha’s hair after his bath, the mouse selecting the lotuses for pooja, and the little Ganesha playing the damru; all reminding us of our own childlike leanings.Even as other gods are confined to iconography, with Lord Ganesha, an artist seldom dithers to digress.According to Parelkar, the four lines represent the four directions and the four Vedas. Additionally, with beautiful, tender and graceful crowquill strokes, he puts into use his calligraphy. Prabhukeluskar uses vibrant colours yet keeps them gentle to remind us that childhood is an effervescent, carefree process. Barve is flamboyant in his use of colours and bright green, yellow, red, blue make his paperwork striking. "I like the drama of the light," says Vijayalaxmi, whose work thrive on the play of light on ancient sculptures, giving it a mystic aura. Lord Ganesha is elementary, down-to-earth. Through his series of Bal Ganeshas, Prabhukeluskar depicts the relationship of the God with his vahana (vehicle) the mouse, which is the subject matter of his acrylic and water-colour paintings. The trunk with its glistening metallic finish on fibre reminds us of how the God has become a glorious presence. For many artists depicting the affable elephant god is an expression of their desire, emotions and faith. Hence, Ganesha can be a musician, a cricketer, a dancer, or even take the form of other deities such as Krishna or Shirdi Sai Baba.Chandrashekhar Barve through his origami transforms simple paper into delightful images of the God. Every person is a child at heart. By depicting the Ganeshas in the form of Lord Krishna, Vitthal and Brahma, among others, Bhiwandikar associates her Ganesha with all that is divine. Her acrylic paintings on canvas create form out of formlessness; and this form hovers around Lord Ganesha.Deepali Parab exquisitely blends terracotta clay in her paintings along with other mediums, while Prasanna Chury makes sculptures in the Siporex medium.With the use of dazzling acrylic colours she then completes the look. He creates a mud base on the canvas he works on and then draws his other colours from a spectrum of earth tones to paint his version of Lord Ganesha.Each artist uses a distinct medium to highlight a singular interpretation of Lord Ganesha"He is the only deity without a human face.Four simple strokes! That’s all Sachin Parelkar needed to etch his imprint. Her Viraata Ganesha exhorts to activate this purity and become one with the pure energy of the Universe.Ancient sculptures are Vijayalaxmi’s muse. The result is strong but unassuming carvings set against the bare simple jute cloth. Siporex is a POLYESTER TAFFETA ANTI-DYEING light weight concrete block used for construction. Samant makes the paper pulp right from scratch and in the ensuing paper contours she tries to visualise her Ganesha.Kalasiddhi, an exhibition by 14 artists, explores the freewheeling aspect of Lord Ganesha.Rekha Bhiwandikar forms a fusion using Madhubani and Warli styles. The humble artwork is perhaps the artist’s own notion of how worship can be no frills, no ado. Churi mixes it with copper-brass foil, wood and glass to achieve sterling effects. A few curved lines depict the Durva grass, a favourite of the Ganesha; for Raju he is the Swastika itself.. Sunil Pujari’s paintings on canvas in acrylic is a celebration. The singular aspect of his work is the direction of Ganesh’s trunk. Thus the myriad monikers associated with the God becomes the basis for his work. The paintings titled vigour, gratitude, ecstasy, curiosity, evoke the various emotions associated with the Lord, right from his making to his worship culminating in the sarvajanik celebrations of the Ganesh festival. The undertones cannot be missed. Depicting the four strands of grass in as many directions, her painting, titled Durvaankur Swastika, is a surreal presentation of the Mooladhara. Factoring in wood grain that would work to his advantage, he chips out only the bare essential to keep his craft minimalist.Anil Londhe uses the medium of metal and fibre and gives his sculpture a granite tenor. Probably, the rather amusing circumstances of his birth belie the supernatural that envelops other deities. Raju eschews the popular for the philosophical.Shubha Samant’s work on paper and acrylic is unique because she allows her raw material to determine her creation.For Raju, Ganesha is also about the purity and innocence.Having a predilection for teakwood, he chooses his blocks meticulously.What is it about the Lord Ganesha that not only evokes devotion, but also a feeling of affinity It could be his pot-bellied rotund physique or the uncanny elephant head that adorns his human body. The four artistic lines are made complete with a bright pink hibiscus, the only colour in an otherwise blend of gold, silver hues that lends the picture a classy demeanor.

Sarthak says, "We wanted to create products that were global in nature but local in spirit. He says, "Design is a tool to address the needs of the present culture, and the aspirations of a future culture. Our instincts told us the definition of luxury was changing internationally. The framework, a handcrafted beaten brass body, was made in old Delhi, while artistes from Kerala worked on the cheap satin ribbon paintings. Since the resort is located near Raipur, the two recreated an ambience "that is inspired by the region, and made with materials that are found abundantly in that region. Traditionally, farmers spin the leftover colourful cloth found in cloth mills into ropes (which is then used to weave traditional Indian beds) as an additional source of income.". Some inspirations that were explored in this project were the leather puppet makers and performers, nettipattam elephant decoration makers from Thrissur, mural artists from Calicut and theyyam decoration makers from Pallakad.

In keeping with that dream, Sahil and Sarthak have been consciously working towards creating lighting products and installations since 2009 — the year they set up their design practice. We created contemporary furniture that is sustainable and beautiful and yet has a ‘glocal’ appeal. These pieces are completely handmade and brought to life by the ethical interactions."For Sahil and Sarthak, design is much more than an architectural blueprint or a functional prototype. The central tree is shaped in the form of the tulsi or the holy basil.Among their latest projects which garnered praise, was the Kerala Sutra, which in their words, "brings together land, legend, legacy, love and lifestyle" in each object. And while doing so, they wanted to use materials that were not only functional but some that found their roots in traditional Indian crafts. We wanted to be the front-runners at least in India — to cater to a market that believed in luxury with a conscience.Sarthak Sengupta of Sarthak Sahil Design Co." The Katran Love Chair was awarded the Best Product by the India Design Forum 2013 and was also awarded at the Asia Talents Exhibition in Bangkok."This philosophy has found its way right from their first major project — the Lakshman Sagar Resort in Rajasthan — which is one of their most published projects till date. Our designs are deeply rooted in traditional art practices as we try to address contemporary spaces. We have spent hours in this beautiful and surreal residence building, moving from room to room, admiring his unique Art Nuovo style.The duo is inspired by the late industrial designer, Achille Castiglioni and Spanish architect Antoni Gaudí. Sarthak says, "We admire all of Gaudi’s works, our most favourite is Casa Batlló in Barcelona."Sahil and Sarthak are currently presenting Kalpataru, their festive light installation at the prestigious Victoria and Albert Museum in London as part of the India festival. Sarthak says, "To us, the Victoria and Albert is a treasure trove of meaningful objects that narrate varied human customs and traditions over time.

They wanted to change the way we consumed lighting and understood interior design. We wanted to design something that encapsulates both diverse cultural symbolism and contemporary customs, embodying the metaphorical tree with the spirit of both Diwali and Christmas celebrations which everyone can enjoy. The remaining structures are in the shape of the mango tree, champa flower, banana, jackfruit and lotus plant — elements that form an intrinsic part of rituals in India." Calling it the "Zero Kilometre Design", Sarthak says, "We documented craft practices, rituals and customs, objects, farming tools and vessels, in order to capture the true spirit of the land. Sarthak says, "Our effort has been to use this material in an innovative way. What we see are wall hangings, mural paintings, installations made of red wooly ropes and lamps.

These were then reinterpreted into modern day objects such as light fixtures and furniture that adorn the interior of this resort. tells us why traditional materials and Indian craft practices are intrinsic to their ideasWhen Sahil Bagga and Sarthak Sengupta returned to India from Italy after studying design, they decided that they didn’t just want to cater to an existing market or design contemporary spaces."Their signature collection remains.

Anam, who styles Sania for events, says, "It has become easier for me to style Sania. That said, it is always good to work with someone you know well — we enjoy each other’s company. So, when we launched TLB earlier last year, the idea was to bring in designers, who are not accessible to that particular city. This keeps me abreast of the fashion trends across the country," says the 23-year-old."Talking about working with her husband, Akbar, Anam shares, "We do have a lot of arguments and opinions on different things.Showcasing everything to do with fashion under one roof — accessories, ethnic wear, shoes to bags and beauty products — The Label Bazaar (TLB) is a shopaholic’s dream. We both have our own tastes and do what is good for the business. "We have to be updated, keep improvising and also come up with quirky innovations to sustain in this industry."A final year master’s student in journalism and PR, Anam says that Chennai has become very open to changes in fashion.A stylist by profession, Anam says that the fashion industry is thriving and pushing its boundaries. I am also researching on new designs and designers every other day. "I think Chennai is one of those cities that can easily adapt to Polyester Satin Ribbons Manufacturers any form of fashion."(The Label Bazaar launches in Chennai on April 15 at the Taj Coromandel). Also, the weather here makes people choose light clothes with subtle colours. But this young stylist from Hyderabad, Anam Mirza, along with her husband, Akbar Rasheed, is all set to launch the third season of the exhibition, The Label Bazaar, in namma ooru. Fashion is changing every minute and it’s something I am really passionate about. In a candid chat, Anam talks about how she manages her work and studies, coping up with the extremely competitive fashion industry and more.Signing the country’s sporting beauty and her sister Sania Mirza, as their brand ambassador is one of the benchmarks of TLB."Though there are a lot of exhibitions happening in Indian cities, the visitors don’t get a chance to meet the designers.She has no huge fan following or a gallery to cheer like her older sister and India’s tennis champion, Sania Mirza does. And through this, you can see a display of designers you have never seen before," Anam opens up about TLB’s genesis. She is one of my favourites and it is fantastic to work with her. I know her body type, what she likes, what colours and styling will suit her and so on. Before coming to the city, we researched and found that Chennaiites love cotton, linen and ikat prints.

Prakash, commissioner, Greater Chennai Corporation, tells us a different story. He notes that though the ban was in effect for the first few months, the failure on the civic body’s part to conduct regular spot checks has resulted in plastic commodities slowly creeping back into the market.The present ban has not only crippled the livelihood of thousands of workers but has also created a thriving market for numerous illegal dealers, alleges G. While he admits that there are a few cases of lacunae, the ban has largely been successful, he says. Ms Deepthi, a teacher and resident of Mylapore, says that though the public is aware of the ill-effects of plastic usage, the prices of cloth bags and other substitutes prompt them to buy plastic, which comes at a relatively lower cost. Clearly, this is not the case.

Echoing similar sentiments, a senior food safety official says that more than 50 per cent of restaurants in the city follow the ‘no-plastic’ rule."According to the Tamil Nadu Panchayats (Second Amendment) Act, 2019 penalties for ‘storage, supply, transport, sale and distribution of use-and-throw plastics’ was fixed at `25,000,     50,000 and     1,00,000 for first, second and third-time offences respectively.Mr Satyapura Shekar, director of Urban Governance, Citizen Consumer and Civic Action Group, also believes that the Tamil Nadu government has taken a hardline stand on the issue and points out that unlike states like Mahara-shtra, which rolled back the ban within a few months of its implementation, the plastic ban is still being enforced in the state.Several MNCs still sell their products wrapped in SUPs and the government is doing nothing about it. Bio-degradable plastics or green plastic is also not a solution, he asserts. There has been no remarkable change in this number," he claims. He points out that this is currently not being followed in the state.  And nearly over eight months since the Tamil Nadu Government announced a blanket ban on non-biodegradable and single-use plastics (SUP), plastic commodities are slowly making a comeback in the city — this time, however, sourced from the neighbouring states and some elusive dealers. "Till date, we have seized five and a half tonnes of plastic from the city restaurants," he adds."If the ban had been effective, we should have seen an alternate economy (built on plastic alternatives) thriving. "The shops will be shut down and sealed if found guilty," he warns, adding that an illegal plastic manufacturing unit at Ambattur was recently sealed in a joint operation conducted by the TNPCB and Chennai Corporation. Notably, when the ban was first introduced, the government had announced its decision to support women’s co-operatives, entrepreneurial ventures and start-ups working on plastic replacements. The Plastic Waste Management (PWM) Rules 2016 mandates MNCs to collect back the plastic waste being generated by their brand items, by themselves or assign some party to do so.With the civic body busy preparing Chennai for the monsoon ‘deluge’, the frequency of raids has notably come down, which might be another reason for the resurgence of plastic. Nityanand alleges that these plans too have not been pursued. Now tell me, which one will the public purchase?" he asks. "

The design of the ban on paper is also far more advanced compared to its counterparts, nationally and globally," she says.  He says that while big shops and eatery joints have visibly switched to bio-plastic, cloth and paper bags authorised by the Tamil Nadu Pollution Control Board (TNPCB), it is the small shops and vendors that are now posing a problem.. A lorry containing five tonnes of banned plastic was also reportedly seized by the officials a month back. In the far left corner is the takeaway counter and on its shelves lie polyester satin ribbon Suppliers a hundred plastic cups and boxes, neatly stacked one on top of another. Sankaran, president, Tamil Nadu-Pondicherry Plastics Manufacturers Association."Considering the economic setbacks of the small–scale traders, we restrain from going steadfast on them," he adds. In a laudable move, the government had released a descriptive list of 12 eco-friendly alternatives to plastic, including cloth bags, glass containers, paper plates and cups, banana leaves and areca nut plates at the time of the ban. On being asked about the inflow of plastic from other states, he says that special squads will be formed to curb this menace and warns of stringent action against repeat offenders.Writer-activist Nityanand Jayaram also believes that plastic products are back in circulation, courtesy lax implementation and enforcement of the ban."

One kilogram of single-use plastic, which was earlier priced at `100, is now reportedly being sold at `150 by some.Another reason this ban might not have had the desired impact is the high price of the alternatives.CHENNAI: It’s eight am on a Tuesday morning and this popular restaurant at Adyar is already abuzz with activity as a long queue forms for tables and waiters run around taking and delivering orders. "We have seized over 300 tonnes of plastic until now and `75 lakh to `80 lakh fine has been collected. Though the production of plastics by licensed manufacturers has considerably gone down, he says, banned plastic is still being produced extensively by unwarranted manufactures. Reportedly, tons of plastic is transported every day from other states and fake products dubbed as ’recyclable’ plastic is also in circulation.However, G. "The consumption of plastics in the state stood at 10 lakh tonnes per year earlier. However, officials believe that with a nationwide initiative on eliminating plastic, the movement to ‘curb the deadly menace of plastic pollution’ will now gain momentum.