This body of work, Living Furniture, brings together organic forms that come to life in wood and metal with Sungudi, a textile deeply rooted in the community I belong to — an ongoing exploration of form, material, heritage, and memory. The first set of pieces includes a two-seater stool, a chair, a lamp, and a sculptural installation.

​

Reviving and adapting Sungudi to a new cultural landscape has been an ongoing intention. Rather than approaching it through clothing, where it traditionally belongs, I place it within objects and furniture, allowing it to exist in space rather than on the body.

​

Originating over 500 years ago in Madurai, India, the craft evolved through the migration of my ancestral Saurashtrian weavers, who carried the resist-dyeing tradition to the South. Defined by its intricate dotted patterns and formed through thousands of hand-tied knots and dyed with precision.

​

My practice is shaped by an intuitive exploration of organic forms, first emerging through my work with BISKIT across clothing, then extending into fibreglass structures, and later into canvas and digital renderings. Over time, the objects I imagined within these constructed worlds began to take on a life of their own, leading me towards furniture as an extension of this language.

​

As this process developed, I began to consider the role of material within these forms — particularly those that carry personal and cultural memory. Living Furniture emerges from this intersection.

​​