Interview with Pooja Bahri

Colette Copeland
October 2023

The Trophy, 2022

I first met Pooja Bahri in an online performance art class with Alicia Framis at The Alternative Art School. (TAAS) Unlike many other online classes or continuing education programs, TAAS students are all serious visual artists. The school’s mission is to build a global community. Pooja and I immediately connected through our shared interest in works surrounding gendered identity and the body. We collaborated on a work together during class and also continued individual performance works focusing on themes of self/selfish/selfless. Fast forward—I find myself in India on a Fulbright Research Award and fly to New Delhi to meet Pooja in person. We spent a fun weekend looking at and discussing art. A meeting of kindred spirits. This interview evolved from our many hours of talking about art and life.

Colette Copeland: Your work intersects between issues of gender, social boundaries, the body, environmental investigations and the shifting landscape of urban and rural spaces. One theme that connects your work and practice is the balance/blurring between public and private spaces, as well as your commitment to social engagement. How does your approach to materiality and process frame your conceptual research and convergent themes?

Pooja Bahri: As a visual artist deeply rooted in exploring the nuances of social boundaries, gender, the body, and our environment, my commitment to understanding the intersection between the public and private realms plays a pivotal role in my practice.  I like to adapt my art to investigate a concept, be it environment, social discrimination, or the one closest to me that I have focused most on – the reality of the masses and their struggles in overpopulated bursting-at-the-seams Indian cities.  I select the media and process according to the theme. I feel my practice is material agnostic. What I employ to use is entirely dependent on the idea that needs execution. And in that, it could well be through sketching, painting, digital printing, staining…at the core it is experimentation with more material to create an alternate dimension where my thoughts and memories can reside permanently, and yet communicate to a larger audience. The careful selection of materials and processes, each chosen for their symbolic and tactile qualities, frames the conceptual narratives that underpin each work.

For instance, Breathless is more than just an art piece – it represents a profound link between human existence and the environment. By breathing life into trees, I intended to create a visual and metaphorical bridge, suggesting that our lives are deeply intertwined with nature. The oscillation between inhalation and exhalation reflects the delicate balance that exists between humanity and the environment.

Similarly, The Trophy sculptures highlight the transient nature of materials and the cyclical process of creation and destruction. By employing disposable brown paper – a material that originates from trees – I not only reference the environment but also subtly touch upon societal consumption patterns and the ephemeral nature of life. These sculptures critique the temporary boundaries we often put up, only to tear them down again, much like the act of wearing and discarding clothes. The use of paper, which is both fragile and sturdy, juxtaposes the vulnerability of the human body with its resilience.

Materiality, in essence, becomes a language for me. Through it, I articulate the multifaceted narratives that my works strive to convey. It aids in weaving the divergent themes of my practice into a cohesive and resonant tapestry.

CC: As you know, my Fulbright research centers around themes of borders and boundaries–physical, emotional, real, imagined, geographic, convergent and divergent. How does your work fit within these themes?

PB: The exploration of borders and boundaries is not solely a geographical or physical endeavor in my work but delves deeply into the emotional, societal, and psychological landscapes we inhabit.

Our collaborative work, Self, stands as a testament to this exploration. In our collaboration, we navigate the boundaries of societal expectations and self-imposed limitations that surround motherhood. The very essence of this piece contests the borders that have been delineated for mothers and caregivers, boundaries that often suppress their individuality and prioritize their caregiving role above all else.

By employing movement and repetitions, we address the dichotomous boundary between self-care and societal expectations. The stigma attached to self-care, especially for mothers, signifies a pervasive emotional boundary. The act of putting oneself first is often misconstrued as selfishness, and through Self, we attempt to blur and redefine this boundary. We encourage viewers to cross this emotional and cultural border, understanding that prioritizing oneself doesn’t detract from the love and care provided to others.

Furthermore, the work engages with imagined boundaries—the societal constructs that dictate the roles and behaviors of mothers. By challenging these, we highlight how these imagined borders can become very real obstacles, affecting the well-being of countless individuals. In essence, my collaborations and subsequent travel videos, such as Self, exist to interrogate, redefine and often dissolve the myriad boundaries that confine and define us, aligning with the research and themes you’re delving into.

CC: In addition to your artistic practice, you are a co-owner of Champa Tree Art Gallery, which focuses on promoting emerging artists, as well as the Create Studio, which offers art career counseling and creative portfolio development for youth seeking to study art at the university level. How do your businesses inform your creative practice and vice versa? I see a connection between your commitment to social outreach and supporting young artists with the socio-political issues you explore in your art.

PB: Every facet of my professional journey intertwines with my artistic vision. To encourage dialogue and engagement, I co-founded Arts For All, a not-for-profit organization. Significant assignments have been undertaken in its 11 years of existence, but art in public spaces has been the most impactful. We have collaborated with institutions, museums, and large-scale music and community art festivals. I have actively participated and cocurated young and mid-career artists for these projects. Responding to a tight vision, ensuring the work connects with people from various socio-cultural background, and skillful implementation has been challenging and a learning experience.

In addition, The Create Studio was launched in 2016 with the aim to encourage the uninitiated to explore the practice of art. With over 1,000 hours of workshop time, we have also served large corporations like Google and IBM. My interest in pedagogy and curriculum development for visual art got me to conduct short courses at leading schools and colleges, guiding students on portfolio development and counselling them for a career in arts.

Champa Tree Art Gallery is a dynamic and immersive art space that showcases exceptional artwork by talented artists worldwide, providing a curated collection that is accessible, affordable, and enjoyed by art enthusiasts globally. Established in 2018, the gallery is rapidly gaining recognition to prominence as a premier destination for art lovers, collectors, and artists alike. This offers me a pulse on global artistic trends and dialogues. Even my role with the Delhi Pradesh Congress Committee, where I melded art with cultural heritage policy, reflects how deeply interconnected the socio-political landscape is with artistic expression. Each venture, in its unique way, amplifies and is amplified by my artistic pursuits.

Untitled, laser cut handmade paper, incense stick, soot

CC: In our conversations, you shared about a devastating fire that destroyed your home, art and belongings. How has that experience impacted your work and how has your work functioned as a form of healing or catharsis resulting from that experience?

PB: The fire was, undoubtedly, a pivotal moment in my life. It wasn’t just about the material loss, but the emotional and symbolic devastation of seeing personal milestones, memories, and a significant portion of my life’s work reduced to ashes. The immediate aftermath was a mix of numbness and profound grief.

Every artist pours a piece of their soul into their work, so losing such a tangible part of my journey felt akin to losing a part of myself. But as time progressed, I began to see the silver lining— the opportunity to rebuild, reimagine, and redefine. This awakening became a turning point, prompting me to pursue my Master’s in Fine Arts from the UK. That year of postgraduate study was akin to rising from the ashes. It demanded unadulterated introspection, where I delved deep into every facet of myself. While art had always been an extension of my emotions, it now became a vessel for healing. The cathartic process of creation during this time wasn’t just about expressing, but about rediscovering and reinventing.

In fact, I began to infuse my creations with palpable remnants of that transformative experience. The use of soorma (Indian Kohl) in my artwork is more than just a medium; it’s symbolic. Kohl, which has traditionally protected and enhanced one’s eyes, became a way for me to channel the fire’s intensity, revealing a deeper vision and clarity in my work. Whereas my earlier works were often driven by the allure of varied materials, my post-fire creations evolved into a more research-based practice.

Though never limited by materials before, my new approach embraced an even broader spectrum of mediums, echoing the limitless spirit born from the fire’s aftermath. My art now wasn’t about the medium, but the message, the exploration, and the raw emotions.

CC: Your current work focuses on research surrounding environmental and political migration. The theme of displacement is one you are intimately familiar with, especially after the fire. Please share some of ideas surrounding the research for this upcoming project and what materials, processes and form you envision for the project’s visual components.

PB: The inferno that consumed my home, art, and belongings, while devastating, kindled a deeper introspection about transient existences and solidified legacies. This intimate experience with displacement and the rebuilding process resonates deeply with the themes I’m currently exploring in my work on environmental and political migration.

Environmental Transitions, Metamorphosis & Beyond offers a comprehensive look into global ecological challenges. Yet, it’s Dialogues of Melting that captures the essence of my current artistic exploration. This piece, interweaving the ephemeral nature of melting ice and the enduring solidity of cement, becomes a metaphor for my own journey post-fire.

I’ve found that the dichotomy of the melting ice and setting cement echoes the contrasts in human-induced climatic challenges. Ice, with its transient beauty, draws parallels with the urgency of the current ecological crisis, much like the fleeting nature of memories and legacies post-disaster. Cement, in its permanence, reflects the enduring impact of our actions on the environment, paralleling the lasting consequences of decisions made in the aftermath of personal tragedies.

For the visual components, I envision a series of installations capturing the gradual transformation of melting ice as it mingles with the setting cement. These installations will be supplemented by evocative photographs and films, documenting each phase of the transformation. This multi-medium approach serves to encapsulate the multifaceted nature of displacement, change, and resilience.

In essence, the personal upheaval I experienced with the fire has deeply informed my artistic approach. It’s directed me to explore broader themes of change, resilience, and the inherent dialogues between transient and permanent states, whether in personal histories or environmental evolutions.

This is the first in a series of interviews Colette Copeland will be doing as part of her  Fulbright Research Award to India. She’ll be researching and writing about female artists who are working with non-traditional materials and processes.

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