Jaipur Magazine Issue Zero - Sample

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“Creativity is intelligence having fun.�

a l bert eins t ein

Like every other magazine maker, I painstakingly pored over the smallest of details while producing this issue. For example, I was faced with the dilemma of what number to assign to a publication introducing itself to the world. Should it be called issue zero or issue one? When I asked my thirteen-year old son for his advice — because if you want honesty, you ask a kid — he matter-of-factly replied, “Zero. The Indians invented it.” Well, I never thought of approaching it that way, and learned from a quick Google search that around 650 AD, an Indian mathematician named Brahmagupta formalized arithmetic operations using zero. And a circle inscribed at a temple in Gwalior, India, dating back to the ninth century, is considered to be the oldest representation of zero. It was also around this time that, through trade, the use of zero traveled from the East to the West. So, zero it is. Not only because I am Indian, but because zero represents a state of absolute nothingness, a blank canvas, a place to begin all creative work, and it is from there that we can add and subtract, and complicate the process to endless possibilities.

I

hope you too will find a place of zero after living with this issue for a while: a starting point to begin something that you have always wanted to do. We’ve filled these pages with inspiring quotes, creative exercises and interviews with makers of art and beauty, individuals who too started with nothing but an idea.

Zero just might be my new favourite number.

Namasté & Love,

Rupi

MOVING MASTERPIECES “I enjoy creating something original, that a woman can carr y into the world, a piece of art that tells a stor y or transports you to another place or memor y.” ~ Joya Log ue

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THE WORLD’S LAST GLOBEMAKER “We just did a Se ven Wonders Of T he World globe for a family, all hand draw n and hand painted illustrations including the wonders of the natural and modern world.” ~ Peter Bellerby

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TA BL E OF CON T E N T S

FINDING FALU “We sometimes go on a roller coaster ride but we learn how to sur v ive during the dow ns, and we keep an eye on our ego when the music works, and we are on the ups. I feel humilit y is a must for any musician.” ~ Falg uni Shah

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THE SACRED GARDEN “My art is slow art: it is the reverse of this hectic, speeding world we live in and it prov ides for me, at least, a wonderf ul and essential counterpoint.” ~ Oliv ia Fraser

41 BHUTAN CALLING “Ever ybody is a photographer at heart.

Ever ybody has something to say and only they can say it that way. It’s not just the technical understanding, but it’s understanding why you are tak ing that photograph.” ~ Serena Chopra

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TA BL E OF CON T E N T S

C

reative Minds

J

oya Logue

Style

MOVING MASTERPIECES From her studio in Cincinnati, Joya Logue is creating moveable, wearable art for her Rajovilla brand in the form of hand-painted watercolor clutches inspired by her Indian heritage. Her products evoke a sentimental feeling and sense of wanderlust for those seeking something special to carry. We learned about Joya’s creative process and how she manages to live a well-balanced life between raising three children and making art.

I grew up loving art, creating with my hands and specifically painting. I used to spend weekends as a child watching my grandfather oil paint. I also loved science, and followed my love of science through college, receiving degrees in Biology, Chemistry and Psychology. I shelved my passion for art for many years as just a hobby. After deciding to leave a career in the sciences for my family life, I decided to pursue art and design. I explored photography, painting, fashion design and product design. After some time, I developed a series of watercolor patterns inspired by my Indian heritage. It became my vision, to bring my watercolor designs to life through textiles and fashion, and make it into wearable art. This is how the Rajovilla clutch collection came to be. I enjoy creating something original, that a woman can carry into the world, a piece of art that tells a story or transports you to another place or memory.

HAS YOUR CRE AT IVE S T YL E E VOLVED OVER T HE YE ARS OR HAVE YOU ALWAYS BEEN DR AWN TO PL AYING WI T H WAT ERCOLORS ? WHAT OT HER MEDIUMS DO YOU ENJOY WORKING WI T H? Some of my earliest memories of art began with paint. I have always been drawn to

J ’A I P U R J O U R N A L

WHEN DID YOU RE AL IZE YOU WAN T ED TO BE AN ART IS T ? DESCRIBE T HE PAT H TO WHERE YOU ARE NOW IN YOUR CAREER.

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watercolor as I find it delicate, yet, as one layers color, very intricate. Other art mediums I have explored include: oil pastels, clay, embroidery, fabric and yarn. The fluidity and movement of watercolor always draws me back.

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WHEN DID YOU BEGIN PAIN T ING YOUR COL L EC T ION OF CLU TCH HANDBAGS ? DESCRIBE T HE ART IS T IC PROCESS BEHIND MAKING T HE CLU TCHES, FROM SKE TCH TO FINAL PRODUC T.

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A few years ago I began to paint daily in my sketchbook, and what emerged were several organic patterns that I could visualize on textile. I spend a lot of time dreaming up designs. I love to sift through family photographs from travels to India, my collected books, vintage textiles and Indian collectibles. I also think of the collection as a story, a series of memories or current musings. Obviously I feel a strong connection to my Indian culture — everything from the colors, people, traditions, to the nostalgic sounds, tastes and smells, both from the past and the present.

My creative process begins with traditional mood boards. I collect the colors, images or objects that inspire me and begin to paint. I go through several rounds with color and pattern ideas, and try to decide, based on how it makes me feel, what I would want to carry as an accessory. Typically, I can envision the entire design in my head before I begin. I try to do as little digital editing as possible to really allow the artwork to have a

hand painted, imperfect feel. I like it to be as authentic as possible, as if I painted directly onto the clutch. Most of my designs are painted to scale and in entirety to allow me to really see the clutch before it is on fabric. I then scan the finished artwork and send it to be professionally printed onto linen canvas using eco-friendly inks. Once the fabric is printed, I hand cut and sew each clutch myself, finishing with an engraved wooden label and a handmade tassel. Each clutch takes several hours of work from start to finish, as it is a true labor of love.

YOUR ART IS T IC PAL E T T E HAS QUI T E AN ARR AY OF DIFFEREN T COLORS. HOW DO YOU GO ABOU T CHOOSING T HESE COLORS ? DO T HE Y REFL EC T A CERTAIN MOOD OR AT T I T UDE WHEN YOU ARE WORKING ON A PROJEC T ?

My palette is influenced by a combination of organic materials, colors and patterns in India, fashion trends and simply my preferences. I find that India is so colorful, and in addition to the bright colors are the beautiful muted tones set against the exotic landscape. The clay pots, metal tins, foliage, dusty roads, and even the vintage signs for example, all play a role in my inspiration for color. My clutches are for the color seekers, as well as those who love neutrals and simple tones. They are made to mix and match with prints, or stand alone as a statement piece.

YOUR INS TAGR AM (@R AJOVIL L A) IS FUL L OF BE AU T IFUL IMAGES T HAT L E AVE YOUR FOL LOWERS DRE AMING. DO YOU APPROACH YOUR DAILY L IFE AS YOU APPROACH YOUR ART OR, HOW DOES I T DIFFER? Thank you for the compliment on my Instagram feed. I have always loved photography, and I enjoy capturing the beauty in my everyday, mainly simple moments. I find Instagram a great tool for sharing inspiration and my art process. I do approach some of my daily life like I approach my art. I seek out beauty, art and nature with my family. But as a busy mother of three boys, my daily life can look very typical: soccer practice, cooking many family meals and spending time together at home. I like to enjoy the present moment, and many days capture what is inspiring to me that day.

My travels to India and Europe over the years have influenced my art. I kept journals, where I would write, draw and paint about my experiences. As I grew older, I even took a photojournalism class while traveling in Europe, which led to another way of storytelling and journaling. With this collection, I am able to reflect and add this inspiration into my work.

Our family home of Rajo Villa is located in Northern India. Over a hundred years ago, my Bengali family traveled north from Calcutta and settled there for work with the East

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YOUR WEBSITE MENTIONS THAT YOU PULL INSPIRATION FROM TRAVELING. CAN YOU EL ABORATE ON T HIS, AND WHAT WAS T HE L AS T PL ACE YOU VISI T ED? YOUR FAMILY HOME , R AJO VIL L A , SI TUATED IN INDIA , IS AN INCREDIBLE FORCE OF INSPIR ATION IN YOUR WORK . DO YOU S TILL VISIT T HERE AS REGUL ARLY AS YOU DID DURING YOUR CHIL DHOOD? DESCRIBE A RECEN T MEMORY.

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e travel, initially, to lose ourselves, and we travel, next, to find ourselves.

We travel to open our hearts and eyes. And we travel, in essence, to become young fools again to slow time down and get taken in, and fall in love once more.� – Pico Iyer

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