GOPASHTAMI SCREEN

We started with a provocation: to look at embroidery beyond its role as a surface embellishment on cloth. We aimed to push the limits of what a textile can be, which translated softness into a woven brass mesh. The two-way screen is made by artisans who work at the same time on each end. Every stitch had to go through the holes in the mesh's structure, maintain its position in relation to other stitches, and also contribute to the overall design.

Our inspiration came from Pichwai - specifically Gopashtami ki pichwai - as a significant part of our cultural heritage. We were seeking to make a current-day pastiche that would take the sacred cowherd story and put it in today's world with metallic thread, glass beads, and traditional Zardozi.

The screen symbolises the spiritual core of Gopashtami, marking Krishna's transformation into Gopal, the cowherd. Kamdhenu herd moves rhythmically as one, while listening to the distant sounds of a flute. The soft gaze of their eyes and the overlapping forms create a blur that looks like a fleeting image caught in the light, creating both shadow and depth.

It sits at the intersection of three archetypes: the traditional screen, the Pichwai, and the embroidered textile, which is very true to Rhizome's ethos. Tradition is not treated as something dying that needs to be conserved behind do-not-touch signs. Instead, it provides a significant starting point for contemporary Indian design—something that allows cultural capital to remain current and continue to develop.

The screen explores the concept of contemporary worship. It is designed to serve as an individual room divider and/or as a sculptural backdrop. The intention behind this is not simply to maintain the traditional values (as we understand them), but to experience the enduring strength and significance of tradition.