Garvi Rathod: Intricate Beauty
Born and raised in India, Garvi Rathod is an illustrator and textile artist living and working in New York City. She finds inspiration in the realms of culture, craft and the environment. In her work, she integrates illustrations with fiber arts and experiments with shape, colors, textures and materials to create pieces that evoke connection and storytelling. Rathod believes in the significance of preserving traditional crafts and utilizing local materials and incorporates textile waste sourced from garment manufacturing factories in India in all her pieces as a way of infusing new life and meaning into these discarded remnants.
How did your creative journey begin?
Being born and raised in India, I inadvertently grew an affinity towards textiles. From an early age, I was drawn to vibrant colors and intricate textures around me. Attending the National Institute of Fashion Technology (NIFT), a prestigious Indian institution known for its comprehensive fashion and textile programs, was a pivotal moment for me. Our coursework not only taught us the technical aspects of the textile industry and familiarized us with industry standards but also immersed us in the rich heritage of traditional Indian textiles and crafts, ensuring a deep understanding of our country's culture, traditions, and roots. Engaging with craftsmen, I learned traditional textile techniques firsthand, deepening my appreciation for India’s rich textile heritage and gaining insight into the impact of industrialization on traditional crafts, witnessing the shift from handmade to machine-made production methods. Starting my MFA at Parsons however was a turning point in my artistic journey. Equipped with a solid technical understanding of textiles, craft and culture, I found myself able to explore my creative ideas more freely. The emphasis on individualized teaching by professors enabled me to discover and refine my unique style. New York City and the diverse array of international students at Parsons, each with their own distinct styles and cultural backgrounds, served as a constant source of inspiration for me. This blend of technical expertise from NIFT and creative exploration at Parsons has been instrumental in shaping my artistic path.
Where do you find inspiration for your work?
Nature serves as my primary source of inspiration, with its ever-changing landscapes and intricate beauty guiding my creative process. Growing up in a small town in India and firsthand witnessing the transformation of its lush green landscapes turn into urban environments due to industrialization, deeply influenced my thesis work “nature’s needlework”. Drawing from my cultural heritage, I incorporate references from traditional craft and culture and integrate them into my projects. Craftsmanship, culture, and personal experiences are integral in shaping my artistic vision, leading me to intuitively infuse my work with cultural references. However, if something piques my interest, I like to read and research about it, always keeping an open mind to new ideas and concepts. I transform my discoveries into rough sketches in a journal that may blossom into future projects if the right opportunity arises.
How has your work evolved over the last few years?
Over the years, my work has evolved from a mere fascination with materials and techniques to a deeper exploration of concept and meaning. Initially drawn to textiles and printmaking for their colors and textures, I enjoyed creating illustrations for commercial production in the home and fashion industries. However, my journey at Parsons and further research into textile artists' work prompted this shift in focus. Concept became increasingly important to me. Witnessing industrialization's impact firsthand in India, I became increasingly concerned with issues such as environmental conservation and the preservation of traditional craft. As a result, my art now aims to spark conversations about the adverse effects of industrialization on nature while also acknowledging its benefits, bridging the gap between tradition and technology within the textile industry.
What does a typical day in the studio look like for you, and how has your art practice grown or changed?
During the week, I spend my time working at a design studio in the city, where I design textiles for home interiors. This role not only keeps me updated of the latest trends and developments in the commercial world of textiles but also provides a platform to hone my illustration skills. Over the weekends, I try to spend time on my independent art practice. My studio currently is my new york city apartment where I live. It's not a fixed routine every weekend, but rather whenever inspiration strikes. When I start a project, I usually begin by working directly with materials, experimenting and exploring their potential. After these initial trials, I start sketching and brainstorming ideas, allowing the material exploration to guide me. Over time, I've learned to be more flexible with my initial sketches, embracing a more intuitive approach. This often leads to the final piece diverging from my initial vision, a change I've come to appreciate.
Which experiences have impacted your work as an artist?
Growing up in a small village in India, I witnessed firsthand the transformation of lush greenery into industrial landscapes, which deeply instilled in me a reverence for nature. Through textiles, I am now able to celebrate the memories of those verdant landscapes and carefree summers spent with my cousins. Secondly, during my undergraduate studies, I immersed myself in India's rich tradition of textiles and crafts. Witnessing the encroachment of industrialization on its once-thriving handloom and handicraft industry deepened my appreciation for artisanal craftsmanship and my culture and roots. Lastly, my time at Parsons provided a platform to delve deeper into these experiences. Through extensive research and insightful conversations, I was able to develop and explore my unique artistic style, combining my personal experiences and passion for textiles into meaningful art.My thesis, "Nature's Needlework," serves as a poignant reflection of these formative experiences, weaving together elements of nature, traditional craftsmanship, and personal nostalgia into a cohesive artistic narrative.
How has social media impacted your work?
Social media, particularly Instagram, has significantly enriched my perspective. I enjoy browsing through various pages about nature, art, design, architecture and environmental issues. When I come across posts that interest me, I like to research and read more about it. I am a very visual person and viewing posts that intrigue me helps spark new ideas and directions for my work. It has also become a platform where I come across new artist opportunities, shows, residencies, and open calls. Instagram also allows me to share my work with a broader audience, and I’m actively working on building my artist profile. Additionally, I love watching other artists' content and have connected with a few like-minded individuals. It's amazing to view snippets of an artist's work from a different continent, nurturing a global exchange of ideas and inspiration.
How do you choose your materials for each piece?
I select my materials with a focus on environmental responsibility and cultural relevance. I source textile waste from industries in India that would otherwise contribute to environmental degradation by ending up in landfills or being incinerated. These are textiles discarded by the industry due to various reasons like color defects, print defects and pattern making waste. Since my primary material is industry waste, I do face limitations in colors and fabric contents. Despite limitations in colors, I enjoy exploring and pushing boundaries in areas involving techniques. I experiment with embroidery and embellishment techniques like appliqué , felting and patch work. Each piece is planned to ensure the waste materials I received not only enhance the aesthetic of the overall piece but also convey the intended message. I usually wait to receive my textile waste and explore with it and then move onto creating my illustrations, so that they can match the color palette of the textile waste. Apart from textile waste, I also like to experiment with traditional embroidery beads and sequins, for my thesis “nature’s needlework” I created sequins out of soda cans to replace traditional plastic beads and sequins. I am curious to experiment and combine various textile making techniques to achieve exciting outcomes. Each material I select not only honors the rich textile traditions of my heritage but also serves as a reminder of the importance of responsible consumption and waste reduction.
Website: www.garvirathod.com/
Instagram: @garvi.rathod