Parthiv Shah’s artistic journey is a vibrant tapestry woven from a lifetime immersed in creativity and cultural richness. Raised in a household steeped in the arts, Parthiv was profoundly influenced by his father, Haku Shah, a distinguished artist and scholar renowned for his expertise in folk and tribal art. Their home served as a dynamic centre frequented by esteemed personalities such as Henri Cartier-Bresson, George Nakashima, Issey Miyake, Charles Eames, Adrian Frutiger, and others. This diverse mix of typographers, designers, photographers, artists, architects, filmmakers, poets, craftsmen, and policymakers deeply shaped Parthiv’s formative years.

Growing up amidst such an environment, Parthiv was continuously exposed to various art forms. His father’s multifaceted work, spanning photography, painting, and institution-building, provided him with opportunities to witness and contribute to monumental projects like the establishment of the National Institute of Design in Ahmedabad and the creation of Shilpagram in Udaipur. It was during these early experiences, assisting his father in documenting tribal villages and their cultural artefacts, that Parthiv’s interest in photography first blossomed.

Although photography wasn’t initially a predetermined path, Parthiv’s fascination with capturing moments grew organically over time. His formal education at NID further nurtured this passion, where he learned under esteemed mentors like Parmanand Dalwadi and interacted with influential photographers such as Cartier-Bresson. Nevertheless, Parthiv’s interests have always extended beyond photography to encompass graphic design, exhibitions, and more.

Raised in India during an era of socialism, Parthiv’s upbringing was characterized by simplicity and minimalism, strongly influenced by Gandhian principles. This lifestyle, from communal meals on the kitchen floor to the scarcity of consumer goods, profoundly shaped his worldview and artistic approach, emphasizing contentment with minimal material possessions.

Recently celebrated at the Venice Biennale Parallel Show with “M F Husain – The rooted Nomad,” curated by Roobina Karode and hosted by the Kiran Nadar Museum of Art (KNMA), Parthiv Shah’s work stands as a testament to the transformative power of a rich, diverse cultural milieu in shaping an artist’s perspective. I had the privilege of interviewing him on Thursday, June 27, 2024, at the Centre for Media and Alternative Communication (CMAC) in New Delhi. During our conversation, Parthiv shared captivating insights into his life and the myriad influences that have profoundly shaped his artistic journey.

Gaurav Kumar (GK): How would you define your artistic philosophy?

Parthiv Shah (PS): My artistic philosophy is quite complex. Many people have pondered the essence of art. Having studied design, I understand the distinction between art and design. Design serves a purpose for someone else. For instance, when I create a glass, it’s not just for myself; someone will buy it and use it to drink water, milk, or buttermilk. Therefore, it must be functional. If the glass is too big, it becomes difficult to hold, and if it’s uneven, it might spill. However, art doesn’t have to be functional. In art, you can experiment and create without constraints. My artistic philosophy revolves around evoking emotions in those who interact with my work. I hope that my art resonates with people and elicits a response from them.

GK: Besides your father, who are some other significant influences in your life and work?

PS: Many people have influenced both my life and design practice. Naturally, my parents and my teachers at NID were instrumental. They taught me everything from typography and printing techniques to colour composition and drawing. Additionally, I’ve been inspired by musicians such as Pandit Mallikarjun Mansoor and Kumar Gandharva, architects like Charles Correa, Anant Raje, and B V Doshi, and filmmakers including Satyajit Ray, Ritwik Ghatak, Kumar Shahani, Shyam Benegal, Adoor Gopalakrishnan, and G Aravindan. Each of these individuals has drawn my attention with their work.

Internationally, I admire the work of Charles Eames and Issey Miyake in design, as well as filmmakers like Akira Kurosawa and Quentin Tarantino. I have a strong affinity for experiencing various forms of creative expression from around the world.

GK: Any project that holds a special place in your heart?

PS: There have been numerous projects we’ve undertaken, but one that stands out is “Art Moves,” where we collaborated with organizations in the USA on the theme of HIV and AIDS. HIV and AIDS became a global concern, including in India, prompting us to launch a campaign to raise awareness. Back in the early 90’s, we faced many taboos around this topic. We organized an exhibition featuring artworks from the USA, South Africa, Brazil, and India, displayed on auto-rickshaws using modular metal frame structures we designed. These auto-rickshaws moved around different parts of the city, gathering crowds wherever they were stationed, such as Dilli Haat, hospitals, and railway stations.

Volunteers accompanied the exhibition to explain the artworks, and we also constructed a bamboo structure that allowed us to mount and dismantle the entire exhibition within three hours. This portable setup enabled us to take the exhibition to universities in Delhi and Chennai, where it received a positive response from the public. The entire process of creating, setting up, and displaying the exhibition was an incredibly rewarding design project for us.

Another significant project “Women on Record”, centred on gramophone records and how they democratized music in India. Previously, music was confined to elite gatherings or performed by folk artists travelling between villages. However, with the advent of gramophones, music became accessible to people across all social strata. Our project, “Women on Record,” explored the historical context of gramophone music in India, particularly focusing on how women were initially the primary singers on these records due to societal norms. We curated an exhibition, published a book, and developed a website (www.womenonrecord.com) to document this cultural shift.

Establishing CMAC in 1999, we have embarked on approximately 100 projects over the last 25 years, each contributing uniquely to our journey. It’s challenging to single out the best among them, as each has offered valuable insights and experiences.

GK: Recently, Heeramandi has garnered considerable attention in Bollywood. I noticed from your Social media that you have photographed Heeramandi in Pakistan. Could you please share your experience of capturing images in that location?

PS: As part of the Women on Record project, we focused on individuals known as “baijis,” who were primarily singers. These women were also featured in the Heeramandi series, where they were not just dancers but also singers and performers of various talents. Heeramandi, located in Lahore, Pakistan, was renowned for its vibrant culture centred around music and dance. Visiting the area, which has now fallen into disrepair and is largely dilapidated, I felt compelled to capture its ambience through photography to document its historical significance. Though its former glory has faded, Heeramandi remains a poignant reminder of a rich cultural heritage.

GK: Your work has recently been showcased at the Venice Biennale, and you have had the unique opportunity to photograph M.F. Husain. Is there an aspect of Husain’s life or personality that you discovered during your time with him, which remains largely unknown to the world and that you would like to share?

PS: Yeah, it was incredibly fascinating when KNMA approached me about participating in this major exhibition on Hussain, especially as part of the immersive experience at the Venice Biennale parallel show. The venue itself where the show is mounted is quite intriguing. While Hussain is often associated with his iconic horse imagery, this exhibition showcases a diverse range of his works, including wooden toys, ink drawings, and rare old paintings, some of which are early works. My contribution to the show includes photographs of Hussain that help contextualize and bring viewers closer to understanding the artist and his creative origins.

I have had the privilege of photographing and interacting with Hussain over many years, following him in Mumbai and Delhi regularly. Two series from our interactions are featured in the Venice show: one photographed in Nizamuddin and the other at the National Gallery of Modern Art in Delhi. One memorable series stemmed from Hussain’s monumental 1993 exhibition titled “Let history cut across me without me.” Initially commissioned to photograph the exhibition, I later asked Hussain if I could photograph him with his works. Initially agreeing to half an hour, we ended up spending two days together as we both enjoyed the process. During one interaction, while discussing a painting from the Mahabharata, I remarked that Bhishma Pitamah resembled him with his beard and long white hair. Hussain chuckled and agreed, and then I suggested he lie down like Bhishma. He gamely complied, leading to a series of candid and intimate photographs.

Throughout our time together, Hussain was remarkably open, enthusiastic, and supportive of new ideas, which was incredibly inspiring for me as a young photographer. I admired his willingness to engage and trust in my vision, particularly considering the age and stature he had achieved. It was a significant moment that deeply influenced my approach to capturing images.

GK: Can you share your experience at the Venice Biennale Parallel Show? Being one of the few Indian artists featured this year, how did it feel to have your work on display?

PS:  I have visited Venice before and have enjoyed seeing art there, but being part of the Biennale while my work was exhibited parallelly in a Husain exhibition was particularly special. The Biennale was bustling with pavilions from various countries, creating a vibrant atmosphere. Beyond the Biennale, Venice was host to numerous other art shows scattered throughout the city. It was a pleasure to wander from one exhibition to another and hear people’s appreciative comments as they viewed the art.

Additionally, there were several events held at the gallery where my work was displayed as part of the Husain show. Christie’s hosted a special preview party on the first day, and the main opening the following day attracted many art enthusiasts. It was truly thrilling to participate in such an immersive and prestigious artistic experience.

GK: Could you elaborate on the selection process for this particular body of work? Was it chosen collaboratively with curator Rubina, or did you independently present these pieces for consideration?

PS: The work was curated, not merely selected, by Rubina Karode, a distinguished curator from the Kiran Nadar Museum of Art (KNMA). She made the selection of photographs but we discussed size, display, mounting etc.

GK: Which one among your artworks displayed in Venice was your favourite?

PS: There are approximately 18-20 photographs in total, and I find it challenging to pick favourites among them. Each photograph captures a different facet of Hussain’s artistry, each telling its own unique story. As a result, I appreciate all of them equally; they collectively represent different aspects of Hussain’s work that resonate with me.

GK: If you were not in the art field what other career path might you have pursued?

PS: I actually work in two fields: art and design. Currently, I am actively pursuing design alongside my interest in photography. In India, photography doesn’t receive the same level of recognition as traditional art forms like painting or sculpture. It’s a field that is still gaining appreciation and respect, which may take some time to fully develop. However, I am dedicated to both art and design, continuing to explore and contribute to both fields.

GK: What theme or message do you aim to convey through your work?

PS: When I engage in design work, I draw upon my experience, including my time in America where I was offered a job but chose to return to India. I felt compelled to contribute here because India still requires significant improvements across various areas. Whether it’s designing educational books for children, improving bus stops, or fixing leaking taps, there are numerous everyday challenges that need thoughtful design solutions. At different levels, from local to national, there are pressing issues such as healthcare, education, and employment that demand attention. My passion lies in using design to directly impact people’s lives for the better. Whether it’s addressing the aftermath of COVID-19, combating diseases like polio, or enhancing basic infrastructure, I aim to create meaningful change through my work in this field.

GK: What advice would you give to young artists and photographers who are just starting?

PS: I believe that young designers, photographers, and artists should broaden their horizons by seeing more, reading more, and exploring more. It’s crucial to question things because people have become complacent. In today’s digital age, everything is accessible through mobile phones and laptops, but real interactions with people are diminishing. Even during everyday activities like riding in an auto or an Uber, I make an effort to engage with the driver because these conversations provide valuable insights.

Interaction with others is vital, and unfortunately, technology has increasingly isolated us. At home, during meals or outings with friends, everyone is often glued to their phones. This lack of real interaction is concerning.

Therefore, I encourage young creatives to be curious and ask questions. For example, why are our rivers polluted? In America, you can drink tap water from New York without worry, but in India, most people rely on RO water due to pollution concerns. Why is this disparity accepted without question? We need to delve deeper into such issues.

I also challenge artists who work on environmental themes to reflect on their own actions. Are they making a real difference in their daily lives? Are they conserving water or reducing their carbon footprint? Mahatma Gandhi’s principles resonate here: “Be the change you wish to see in the world.” If artists preach about environmental issues through their work but fail to practice sustainability in their personal lives, their credibility is questionable. Gandhi emphasized living what you preach, and this principle should guide all creative endeavours that aim to inspire change.

About Parthiv Shah

Parthiv is a photographer, filmmaker and graphic designer. He has made several documentary films, curated exhibitions and has several photo books to his credit. An alumnus of the National Institute of Design, India, he was invited as a visiting scholar at the SOAS, London University and at the University of California, Davis. Growing up in a family of artists and through his own professional training, he brings an interesting intersection of art, photography and design to his work. He has been awarded a senior fellowship in Photography by the Ministry of Culture, Government of India, Charles Wallace Fellowship, UK and a Fulbright Lectureship award to teach photography at UCLA, USA. He is visiting faculty at the National Institute of Design, Ambedkar University, Nirma University and Jamia Milia Islamia University. His photographs have been exhibited in the USA, UK, Germany, Netherlands, Switzerland, Russia, Japan, Australia, Bangladesh and Spain among many cities across India. He is the Founder-Director of the Centre for Media and Alternative Communication (CMAC). Lately, Parthiv has been particularly interested and engaged in working on the issue of image perception and representation.

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