The image below is a picture of Phulkari embroidery, I could interpret that the threads used were nylon embroidery threads which are usually very thin. The color palette is vibrant and hinting at the culture. The base seems to be a deep red color contrasting with the lighter and more brighter floral patterns. There seems to be mirrors in circles attached onto the fabric which are common in indian traditional attire

Result #1

. It also indicates that the colors in the weaving are woven to change.While it was a nice gesture to include the embroidery in the show, it didnt strike me as creative enough to sell the works at retail. I would have preferred if the embroidery was included in the larger exhibition, as a whole, as an example of the kind of embroidery used by indigenous people. This could have made the work feel more authentic and diverse.

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. The embroidery thread in this picture seems to be borrowed from a photograph of a nearby forest. The whole picture evokes the impact and beauty of nature.This show of embroidery is an important one and it furthers the recent history of Indian art in the country. The work of embroidery is a genre which had been marginalized and at times even completely rejected by the art world for the last decade. While Indian embroiderers have been making a lot of beautiful embroideries for a very long time, the mainstream art world has ignored and even abused the new and exciting embroideering. In the last ten years or so, Indian embroiderers have begun to get some recognition in the art world and the American art world. These embroiderers have shown their art to be very popular and very innovative, and the art world has been influenced by them. Now, however, embroiderers have finally received some support and can move forward and discover a new direction in their work. The recent exhibition of embroidery by the gifted women of the Indian art movement will undoubtedly help them find their own ways of continuing to develop their art.

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. In other patterns, the mirrored fabric mimics the mirrored surface and all the patterns are completed with a single-rowed fabric. The colors are not in the same order and many of the patterns are even square. The designs are some of the oldest of modern Indian embroidery.Phulkaris work has always been highly distinctive and it is possible to associate her designs with the way she presents them in the book, which is made up of 52 pages of hand-colored embroidery. Each page contains the embroidery, not in a single pattern but in different arrangements. The book was designed to be read at various angles and along various parts of the main body of the floor, so that one could walk around it on all four sides. If one followed any particular pattern one could see the entire ceiling. Phulkaris designs are distinguished by subtle texture and by weaving and gluing. She uses a combination of patterns to indicate form and content, to indicate a specific meaning. Most of her embroidery is patterned in different colors and combinations to create subtle geometric patterns and textures. In this case she is using patterns from Hindu and Christian traditions and it is a tradition which seems to involve a very personal approach to design. If one tries to describe the embroidery from a religious viewpoint, it is a very personal technique. The embroidery does not convey any abstract design, but instead describes patterns that are symbolic and interpretive. On the other hand, it does show some emotional affect in a very personal way. Phulkari seems to be interested in the emotional characteristics of embroidery and in the way it can affect and change the mood of the viewers surroundings. She uses patterns that emphasize the physical qualities of fabric and can create a special effect or mood in a place or environment.

Result #4

The image below is a picture of Phulkari embroidery, I could interpret that the threads used were nylon embroidery threads which are usually very thin. The color palette is vibrant and hinting at the culture. The base seems to be a deep red color contrasting with the lighter and more brighter floral patterns. There seems to be mirrors in circles attached onto the fabric which are common in indian traditional attire. While not traditional, these fabric patterns reveal a way of making it and of creating an identity for oneself. One could say that the embroidery could be considered an indian touchstone for the way we have become so accustomed to seeing Indians live and work among us.The show has more than one level. Some of the pieces were painted in a range of colors and in a variety of styles, such as Phulkaris Oxidized Yellow, as well as Flower Patterns, I and II. The patterns on the fabric match the colors in the embroidery, and the embroidery itself is painted in dabs of oil on the fabric. Thus, the exhibition seems to be both conceptual and practical. Its quite a sophisticated show.In the past, there have been plenty of shows of Indian art by American artists. Art has been there to provide the link between cultures, and Indians are seen as a close relative of everyone from the rich to the poor. Yet Indians themselves are not the only ones who can do something new with this kind of art. Artists in this show have found ways to include this new way of life into their art. For example, in an exhibition on the eastern front of the country, Indian artists including Chitrakheti, Tejtar, and Thaninda Devi-Bhupenjakse took advantage of the Indian diaspora to paint their artwork.Chitrakheti is from the state of Jharkhand. His work, in his traditional tools, often consists of a single object, usually a small stone, which he uses to craft a couple of different kinds of Indian designs. Chitrakheti was one of the artists who later became the subject of a huge number of prints by the artist Janakwarshi, among them a number of large paintings on paper, which he is now bringing into the exhibition.