Collaborations have become the new way for brands to show that they have their finger on the pulse, but they can also provide a much-needed platform. It’s this potential to raise up lesser-known talent that design gallery Æquō is interested in. Founded in 2022 by Tarini Jindal Handa, it is India’s first collectible-design gallery and, this year, at arts fair PAD London (8-13 October), it showcased the skills of the country’s artisans’ like never before, by connecting them with internationally acclaimed designers to create innovative pieces.
‘My grandmother founded Kanoria Centre for Arts (the first artist’s residency in India) and my mother established Art India magazine,’ says Handa. ‘Their legacies gave me a profound appreciation for craftsmanship and cultural preservation. I am committed to promoting economic and social development for artisans in India, breathing new life into their craft while bridging it with contemporary design.’
She describes it as ‘inviting global minds to work locally’. And it’s choosing those minds that she and creative director Florence Louisy are very skilled at. Perhaps one of the most interesting names in an impressive roster that also includes the likes of Estúdio Campana and Garcé & Dimofski is Destroyers/Builders founder Linde Freya Tangelder. Known for exploring the possibilities of raw materials, the Belgium-based designer’s new ‘Slabs’ collection saw her collaborate with a workshop in the coastal city of Alibag, run by Jeevaram Suthar, to push the possibilities of one particular ancient craft: repoussé.
What's everyone reading?
The method of hammering malleable metal to create figurative reliefs is widely used in India, but Tangelder proposed utilising it in a ‘much less decorative way’. Hand-carved teak blocks are wrapped entirely in German Silver (a metal often used in jewellery that combines the frosted hues of silver with some of the warmth of gold) and hammered to create a smooth surface, before being attached with brass weld points to create formations inspired by the haphazard rock formations seen around the Indian town of Hampi.
‘It took some months to find the right workshop willing to experiment on this unusual way of using the technique,’ says Tangelder, but when sketches, shared in a constant back and forth, became reality it was ‘a magical moment’. ‘My designs are mostly produced or at least partly produced in my studio, so it was very special to see how they captured
the idea and controlled the design perfectly,’ she adds.
‘The synergy between Linde and Jeevaram’s teams has resulted in a groundbreaking approach that has enriched our collection,’ agrees Handa. ‘The evolution of crafts has historically been shaped by travel and the movement of objects, which has sparked new interpretations and innovations. By continuing this tradition, Æquō will ensure that these crafts remain dynamic and relevant, supporting their preservation and growth.’
And for Tangelder, the story isn’t over yet. She plans to visit India for the first time in November, with ‘open eyes’, ready to be further inspired by workshops specialising in inlay and clay-covered wood. ‘No predictions!’ she emphasises, but the potential is tantalising. aequo.in
