When
an object has something more to say than how beautiful it is; we call it a work
of art.
“The creation has
become a vessel to communicate something beyond the sum of materials it was
created from. That is how it elevates itself beyond an ordinary craft.”
Camal
Pirbhai is not only Toronto’s up-and-coming Textile Artisan, he is locally
famous for being the only one in North America, with a European education in
couture hand sewing and the rare skill sets of fabricating custom hardware for
most of his projects. And recently he is made quite splash at the Toronto
Interior Design show; with an impactful textile sculpture, entitled Ebony Pope. The exhibit was an eight
foot tall mannequin, with two outstretched arms, wearing nothing but open robe,
with painted peau de soie silk, black velvet, embroidered metallic mesh,
pleating, and sentient lighting that was woven into the fabric that neatly
draped over each outstretched arm.
Reactions
While
this edgy sculpture inspired some interesting discussions, the buzz had little
to do with the religious iconography.
When
questioned, Pirbhai mentioned that he appreciated the impact and responses to
his work. “The reactions to my art are
every bit as important as the actual exhibit itself. Without the reactive and interactive
component, I feel like what I’ve created is incomplete.” And the public certainly reacted. Comments
ranged from “the mesmerizing result
pulses with inner life” to “at first
I was shocked by the visual, yet I found myself wanting more.”
And while
there were those who took offence, Pirbhai’s didn`t seem to enjoy what
on-lookers were saying. “I don’t care if the critics hate what
I’ve done. As long as my textiles are being judged by the same critical standards as a
painting, a dance or a musical composition; they’ve given me my due
respect.” And his wish was
definitely granted.
People
drew parallels between Pirbhai’s sculpture and Andy Warhol’s legendary Campbell
Soup display. Some considered his
sculpture to be a shrewd, self-promotion ploy to distract the public from his
true master piece; achieving fame. Others felt that as a haute couture designer he
was in direct opposition to Warhol’s non-judgemental stance towards mass
production and popular culture?
Although
Pirbhai attested that Warhol was by no means a catalyst for this exhibit, he
did note that he found Warhol “interesting
because he brought the process of promotion and public relations to the level
of an art. Prior to that, it was never perceived that way. That was his
artistic contribution. I respect how he expanded the definition of beauty and
art.”
And while some on-lookers thought
that Ebony Pope was a black religious
icon, Pirbhai admitted that it was never his intention to make commentary about
race. None-the-less, he loved the interpretation and but truly enjoyed how “people have pre-conceived notions on
everything. And I like playing with those ideas. I strive to challenge people
and their imaginations. The theme is all about the intangible things we inherit
that influence how we interpret our experiences. Intention to me is irrelevant.
“The creation has become a vessel to
communicate something beyond the sum of materials it was created from. That is
how it elevates itself beyond an ordinary craft.”
And that’s what I’m looking
for. As an artist, the materials I use happen to be textiles. It is the medium
I choose to communicate all my concepts, messages and ideas through. My art is never just original fabrication in
vein. It has to mean something special.”
Facts
And
while there are no correct or incorrect interpretations about what his exhibit
means, there are several facts about this Pirbhai that are definitively clear.
Number
one, No machine can do what Pirbhai has been trained and qualified create by
hand. Machinery is never involved in
anything he fabricates. It is forbidden.
Number two, he never creates anything twice. Originality is sacred and he is
clear when he states that he is` `always
up for the challenge of “re-inventing my own profession; evolving it to keep the
art form alive. ``
Law of
Fabrication
There
are certain principles Pirbhai calls the laws of his fabrication. And he lays
them all out succinctly in a few sentences. “My textiles should be just as
expressive as watching a ballet or a listening to a piece of music. `` And I
promise each client to use my craft
in a manner that encapsulates the: identity, mood, culture, values, personality
or that they are seeking. `` Everyone is unique so nothing I create is ever
the same. It makes more sense if you look at it this way. “The
difference between original and
unoriginal is the decision that a singer makes to sing a song they have
composed themselves or someone else’s. I for one am not interested in the
Karaoke approach to fabrication. I`m quite sure that my clients don`t want to
see their personality in someone else`s home.”
Obstacle
According
to Camal, the greatest challenge that Textile Artisans are facing today, is to
overcome the ambivalence people have towards mass consumerism. Mass production
“is producing lazy, alienated artisans
who are disconnected from their passion, and the materials they work with. They
have lost their drive to communicate something special”.
With
commissioners who are patrons of the arts that support free thinking, inventiveness
and individual expression. Pirbhai takes pride in showcasing the uniqueness of
their homes and buildings. “There isn’t
anything that isn’t made by or touched by my hands, regardless of whether I`m designing drapery that is minimalist
and modern or traditional and formal. When you walk into a home where [his]
work is displayed, you can intuitively appreciate how the owner relates to the
world; without even meeting them.”
Goal
One
point Camal really drives home is that it takes artistic integrity to make the
world painfully self-aware of how closed minded they have been in the present.
And he cautions us to listen carefully to artists who found beauty in places
the world never knew beauty and artistry could exist in.
Inspiration
When asked about which artists
had inspired Pirbhai, he mentioned that works of Chef Ferranti Adria of El Bulli, because he prepared entrées that
allowed people to experiences tastes beyond sweet, sour, bitter, spicy and hot.
“It made [Pirbhai] question the point mainstream society dictated that
certain possibilities were utterly inconceivable.”
From Anna Pavlova [he] learned that
beauty is a subjective experience,
by showing ballet critiques that the daintiness and vulnerability of her tall,
slender, long limbed figure was enchanting in a different way than her
contemporaries; during a period when the industry standard praised the acrobatics of ballerinas with:
small, strong, stalky, muscular, compact bodies.
And early
impressionists like Monet and Manet taught [Pirbhai] the dangers of
relying on technologies (like the camera) in the context of art. After all, art is not only about accuracy.
It’s also a vessel for original self-expression. ``
Commissioners
Pirbhai’s
clients’ are acutely aware, that the space they occupy is a reflection of their
true: identity, ideas, styles, culture, and favourite period in history,
personality and values. To them, quality textiles are one of the many mediums
they used to celebrate and showcase these aspects about themselves. And Camal understands
that "weather the client’s
predilection is modern and minimal or formal and ornate; there is something
original to say in every genre, through fabrication.” And with that, he ended the interview
with a question. “What type of conversation would [my] own space inspire?”
