Into the void | Manush John | 2015

Creating humanoid sculptural pieces as extrapolations from the building, Manush John plays with scale and structure to illuminate the more intangible nuances of human experience within the architecturally imposing metro station, alluding to feelings of intimidation that the vastness of the station perpetuates. His project is a sculpture depicting man rising and morphing into the surrounding architecture. The pieces are painted off-white, mimicking the walls of the building while at the same time contrasting the granite of the floors. Manush has mad four sculptures emerging from ground, the first being most rendered and detailed, while the last being most abstracted.

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The Lilliput Proletariat | Ruchika Nambiar | 2015

This project aims at illuminating the strangely pure, almost dystopian quality of Peenya’s industrial area by contrasting it against the kind of imagery one often associates with the notion of ‘development’. In the form of a 2D layered miniature diorama, Ruchika Nambiar weaves a whimsical dystopian narrative around Peenya and its role in building the city we live in. The scenes in the diorama draw from and exaggerate Peenya’s existing landscape while contrasting it against scenes that draw from the imagery in commercial advertisements. It hopes to question what development means to us and attempts to present the imagery we attach to it in a way that makes it seem alien.

Step by Step | Prateek Vatash | 2015

With anamorphic art along the stairs, Prateek Vatash’s work focuses on the idea of shifting perspectives through a visual experience. While in one way functioning as a visual spectacle with its play of colours and lines, in another way the piece creates an opportunity for interaction, with his viewers having to shift their position in order to interact with the image created. Prateek’s piece on the stairs currently stands as a vibrant four-colour wave that climbs its way up the stairs to the platform. Prateek has created an anamorphic illusion on the stairway at Peenya.

Breaking Barriers | Shail Suneja | 2015

In the form of a large-scale installation, Shail Suneja’s project activates an island space caught between three busy roads right under the metro station. Wire mesh sculptural pieces reminiscent of the industrial fences in the surrounding areas flow like ribbons across the harsh beams of the building. The piece draws its inspiration and form from flow lines, rising and dipping with the rhythm of the traffic, the movement of the crowd and the curve of the road. It also marks the gentrification of the space represented by the flying away of old industrial fences.

Skew | Natasha Sharma | 2015

Natasha’s installation in the station is one that is both a spectacle as well as a playful opportunity for interactivity. By tracing the most common path commuters usually take to walk up and down the main stairway, and by placing mirrors on the vertical surfaces of the steps, commuters walking down the stairs unwittingly follow this pathway of mirrors while those walking up the stairs get to witness this subtle but fascinating interaction. Natasha’s project is a mirror installation that tracks movement of the commuters along the stairway.

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A Migration of Residues | Fabrice Grolaire | 2015

The Peenya scrapyard, the place where the metro station was built, is now abandoned. Humans and objects have migrated from this construction site to the operational metro station. As in every migration, residues have been left over. Using the metro station as a site for an intervention, and the scrapyard as a source of inspiration, Fabrice Grolaire’s project focused on developing characters with these scrapyard residues. Using sketches, drawings, photographs and paintings, this project aimed to animate the inanimate residues of the scrapyard, and offer them a metaphoric migration with a final painted mural on the metro station’s external walls.

Synergy | Ria Bajaj | 2015

Ria Bajaj’s interactive public seating attempts to activate the potential energy of the platform space and transform it into a fun, lively space. The installation draws from the existing architecture on the platform, but moves away from the generic static public seating by creating movable seats that come together like pieces of a puzzle, giving people the opportunity to play with fellow passengers if they so choose. Here, she attempts to make interactive furniture by studying the platform and assessing what opportunities existed for such furniture.

Ria Bajaj’s interests lie primarily in product and furniture design and she situates her practice along the line between art and design, finding interesting sculptural and aesthetic ways to express functional forms. Every project she embarks on evidences a keen interest and a high understanding of motion and interactivity and she refines this sensibility of hers with every new endeavor. Her practice invariably engages with how people interact with the spaces they inhabit, her interventions providing different or improved opportunities for interaction, and while her work most often manifests in the form of product or furniture design, she is able to translate these interests into other forms as well, such as murals and other visual media.

 

Walled Visions | Raj Palan | 2015

Raj Palan’s murals are playful and fantastical and contrast the stark, industrial aesthetic of Peenya. The murals personify industrial machinery as whimsical monsters, serving as a playful commentary on industrialization and development. The sheer scale of the images entices passers by to visit the station and make it their own. These images stitch existing structures on the building with his illustrations. The impact Raj’s visuals have and the sense of play and enjoyment they bring with them entices people and encourages them to interact and engage with the station.

Jitni mann ki daud | Shambhavi Singh | 2015

Through an intricate visual piece that characterizes urban life and its dilemmas through the metaphor of an Indian breakfast table, Shambhavi Singh hopes to facilitate a pause and a moment of reflection for the daily commuter, making them ponder upon the rush of daily life. This is mural that represents the rush of daily life as a breakfast table scene. Her imagery integrates scenes of daily life with objects and elements related to food and eating. Shambhavi’s final image manifested as a bustling breakfast table scene integrated with the city’s landscape.

Wires and Walls | Veda Thozhur Kolleri | 2015

Through a series of public space interventions, Veda Kolleri attempts to facilitate a dialogue between her relationship to drawing and her relationship to the site she chooses to draw in. Her process is one that sustains itself through unresolved ideas and techniques, using walls as a canvas upon which to make the invisible visible and sometimes vice versa. After building her conceptual vocabulary through experiments, she returned to Peenya and worked with exaggerating the atmosphere of the space, by imposing structure on the flat surface of the wall to give it dimension and simultaneously breaking its existing structure by muting its dimension.

The Stasis Syndicate | Reuben Samson | 2015

Reuben Samson’s project centres on his investigations of industrial urban spaces around Peenya that isolate key aesthetic anomalies that are ironic, self-contradicting and in a fragile state of flux. They are represented in visual compositions that use metaphorical imagery, literary and philosophical influences to advocate a deeper sensorial relationship with transition spaces. The images generated are displayed on a series of suspended glass windows that directly emulate the windows of a metro coach, behaving as a photo-series on the suspension of the depleting residues of animism in aesthetic anomalies around Peenya.

While you're waiting | Siddhanth Shetty | 2015

Siddhanth Shetty’s project finds ways to activate urban public spaces with interventions that cause a passer by to look at his surroundings with a fresh perspective and acknowledge possibilities of different ways of living. He conducted interactive experiments on the platform of the station for 20 days: Pillars with magnet words to play with, a blackboard to leave messages on, and a bookshelf where you could take a book if you left a book in return. His current ongoing intervention further addresses the idea of the self in response to an urbanity that homogenizes people: A “Grow your own hair or cut your own hair” space.

Undulating Planes | Harleen Chatha | 2015

In an attempt to humanize the metro and give people a less intimidating entry point into the space, Harleen Chatha uses sculptural installations and furniture that transform the exterior space under the metro flyover into an atmosphere of whimsy and fantasy. Taking inspiration from actual creatures that inhabit spaces similar to the chosen site, she has chosen to introduce a winding, twisting worm-like form as a permanent inhabitant of the space.

Translation of Reality | Ishita Biswas | 2015

Interventions in the form of observational drawings of site has been the crux of Ishita Biswas’s practice. She has been investigating sites through different lenses which then act as a translator of reality. Her final piece builds a cumulative narrative in the Peenya station where she is treating her site as a part of this series of experiences rather than an intervention in isolation.

See Peenya | Akshaya Zachariah | 2015

This project aims to create a spatial map of Peenya, where the walls of the station act as a permeable structure, bringing experiences, visuals, signs of life and textures from around the station into it. Akshaya Zachariah creates her map such that it evokes curiosity and an element of surprise for viewers as they navigate through the station.

Colours of Peenya | Aroushka Jinelle D’mello | 2015

Drawing from a vast and meticulously generated colour palette for Peenya, Aroushka Jinelle D’mello brings a selection of these colours into the station through a large scale installation of modular columns suspended along the stairs, with the colours shifting and changing as one moves across it. The piece forges a subtle and ephemeral link between the metro station and its community by reflecting the diversity of the local visual palette.

Stories behind the door | Devika Shah | 2015

This project is a journey of discovering and unravelling the structures present around us by complicating our relationship with space and shifting the way we perceive architecture. Through a manipulation of existing architectural elements using lines, perspective, colours and shadows, Devika Shah has gone through a series of artistic experiments in the communities around Peenya, building up a vocabulary of space and form before returning to the metro station for her final intervention.

Sonder | Deepti Ramakrishnan | 2015

This project celebrates the concept of shared human experiences in the form of a book that explores conversations between the artist, Deepti Ramakrishnan, and two families in Peenya. These conversations and experiences cross the boundaries of class, caste, language and time and builds relatability by breaking the stories away from their beginnings and ends and juxtaposing them with personal memories and musings so as to create an experience for the reader rather than a journalistic documentation.

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