As a critique on the corruption of British colonialism on the Indian cloth industry, my work aims to bring awareness to various overshadowed Indian motifs and the weavers that designed them. The evolution of Mughal fabrics to imitated westernised replicas from the Victorian era forwards is a pivotal point in history and the main focus of my practice.
Resulting in enduring ramifications on India’s economic growth, this appropriation deeply disrupted Indian crafters, leading to a life in poverty still continuing today. At the centre of this glorified conflict lay the themes of control and restriction.

Inspired by Mughal paintings and fabrics held in local British museums, I replicate appropriated designs enclosing traditional Asian weaves. The centre illustrations spiral outwards, demonstrating how history marches forward and leaves these authentic Indian designs in the past, dominated by the western in scale, popularity and depth. Bringing this concept in to the present, the final layers portray the patterns used by contemporary fashion brands who continue to benefit from centuries of Western appropriation of Indian traditions. Indian and British national identities and symbols stand in juxtaposition, each fighting over their liberation or ambition. To fully honour the efforts of generations of crafters in Indian
history before me, each frame is handmade. In the long hours of learning the art of Mehndi/Henna, studying the details in my native clothes, and researching in to the archives of British museums has brought me closer to my cultural heritage and to appreciate its importance in the world today.