Materiality, Craft As An Occuation, An Eotion And As An Object – FESCH.TV

FESCH.TV INFORMIERT:

Muhammad Umer Rehman, Associate Professor Indus Valley School of Art & Architecture, PAKISTAN & Wafa Ali, Assistant Professor Indus Valley School of Art & Architecture, PAKISTAN

“As human beings, we rely on non-human things; the objects that are central to the sustenance of our physical and mental life.” -IOTA21 Futuring Craft.

This statement resonated on so many levels when thinking about craft, its meaning and its value. Being an educator and a maker, we have seen and been part of the process, as well as in the making of craft. Working with the artisans from Gilgit Baltistan, Hunza, in the northern part of Pakistan to the southern region in Umerkot, and Thatta has made us see how craft has been a result of necessity where form-follows-function. Each craft practice varies due to its geographical, climatic, cultural differences, which further informs the medium it is made in, and these differences are evident in the sensibility of its design and other attributes.

Pakistan comes with a rich heritage and tradition in craft practices, simultaneously sharing with India as both are an outcome of one of the biggest migrations in history that took place in 1947. However, no matter how many similarities there are to both regions, there are also distinct differences as well. For the making of craft, the idea of materiality and its tactile nature is absolute in its making. Materiality is based around the concept of quality, which is how the artisan puts his/her soul, emotions and confidence in the process and into the materials used. It is this sentiment that gives the importance of traditional handiwork in contemporary craft practices some of which are applique work (Rilli,) block printing (Ajrak,) blue ceramic pottery (Kashigari) etcetera. This rich local craft also translates into the realm of interior spaces as well as architecture through wooden screens (Jharokha/ Jaffri,) marquetry, decorative gravestones of Makli and Chawkandi in Sindh as well as wood carved furniture from Chiniot. This craft crossover from wearable fashion to home textiles to interior architectural elements celebrates not just the artisan but their craft.

Craft, is therefore acknowledged as a means of empowerment, and co-exists with its monetary aspect. However, it is an object that interacts physically (with the act of making) and mentally (with the emotions that one goes through in the making) which are inherent in its design and gives the user the experience through emotional and aesthetic pleasure.
In this research paper we look at the various crafts that exist and the crosspollination of these objects within our spaces, whether through fashion, textile or through addition of elements within the living spaces.