The Itinerant Illustrator – Exhibition Brochure

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The Itinerant Illustrator

 On the 18th and 19th December 2014 the 5th International Illustration Research event takes place in Bangalore, India. Hosted by Srishti School of Art, Design and Technology, this symposium and the accompanying exhibition focuses on the praxis of illustration in an expanded field, including histories of local/regional illustrative practices and the traversing of diverse media platforms. The exhibition is the first of its kind in India and showcases a range of projects and practices by illustrators from several countries. The work has been arranged into seven thematic areas: Time Transformed
 Hardly an Escape
 We Become Oursel ves
 Generality in the Specific
 The Center is not the Center
 Somewhere in the Middle
 It’s Not Even Past

Curators’ Notes Illustrations are itinerant performers, coming alive within a context and with a role to play. Within this dynamic discipline some Illustrators make us stop and stand still. This exhibition celebrates Illustration’s wayfaring and ephemeral nature but also focuses on its ability to take us into a deeply thoughtful place of absorption and focus. From the Latin root illustrat meaning ‘lit up’ we have the sense of shedding light upon a subject to reveal meaning. This symposium and exhibition provides an opportunity to shine the light on our expanding and transforming discipline at a critical point on its journey. -Anna Bhushan So much has changed in the past 20 years, at the dawn of the digital age, not least of which is our expectations for images. Images are everywhere – many of us won’t even look at a text that does not offer accompanying images, especially in the place where we most often now encounter text, on our computers. Therefore we both view images at an unprecedented rate but also take them for granted. The field of illustration, the art of conscientious image-making, or even image-choosing in order to further illuminate a concept, then, is really no different, philosophically, from what is going on online minute-by-minute by millions of people. Everyone’s illustrating and these images travel directly into our laps. -Alison Byrnes The act of drawing or image-making offers the illustrator a process for constructing and uncovering meaning. The journey between the signifier and signified is one that we all travel, and quite often the meaning is in the journey itself, not the final destination. Through a semiotic process we continually rearrange, retrace, reenact or reconstruct our visual ideas and an internal dialogue ensues as we travel through them. In this exhibition, many of the illustrators position themselves at the center of their work, as mediators between inside and outside, similarity and difference, virtual and real, memory and material, past, present and future. -Matt Lee

The Itinerant Illustrator 2014

The center is not the center


Heart of Darkness, published in September 2010 by SelfMadeHero, is a 130 page graphic novel adaptation of Joseph Conrad’s classic novel. “I think Conrad cleverly introduces him [Marlow, the protagonist] initially as enthusiastic for his mission and supportive of the colonial regime, but the journey is about the disintegration of his beliefs and conflicted loyalties. It doesn’t have a happy ending .… I don’t think that the views it describes necessarily remained in the Edwardian era. The Congo is still struggling with this history, as are most countries that have been through similar things. I don’t agree that events still in living memory can be dusted away as ‘history’. I didn’t want to make the drawing savage or ugly in any way, although that’s the content. I wanted to draw the reader in with seductive imagery, and then show them that even in the most beautiful of settings, terrible things can happen…”

GRAHAM RAWLE The Wizard of Oz

“Much of the story is the same, but for those more familiar with the 1939 MGM film there are some surprises. No ruby slippers: Dorothy’s shoes were originally silver. They changed them for the movie because they found that red photographed better against the yellow brick road. There are also some wonderful characters not featured in the film: the Dainty China people, ornament-size folk made from china who are prone to breakages, and the Hammer-heads, armless fighters with extendable necks and hard, flat heads. There are extra scenes as well as back story that reveals the origin of the Winged Monkeys, how the Tin Woodman came to be made of tin, and how the Emerald City only appears to be green because its inhabitants are made to wear green tinted spectacles. On top of all that, there is my own reinterpretation to take in.”


The Itinerant Illustrator 2014

The center is not the center


‘In Praise of Folly’ was originally written in 1512 by Desiderius Erasmus, a humanist writer, social critic and teacher. They illustrate a contemporary edition of the book published by Folio. “Erasmus was an itinerant thinker who travelled widely to expand knowledge and gain new insights. This was time of dramatic expansion - a boom in maritime trade and new print technology created a huge flow of information and knowledge, washing through established structures – towards enlightenment. This boom might be imagined as a past echo of our time – where the World Wide Web connects and activates a diversity of ideas and images. ‘In Praise of Folly’ is a mix of social observation and satire. Erasmus uses ‘Folly’ as his ‘mask’ from behind which, he attacks the social orthodoxies of his day. The images refer to his critique of society – of teachers, clergy, kings and superstition. The style of speech Erasmus used was ‘rhetoric’ - an embellished literary device that simultaneously conceals and reveals Erasmus’ views, using puns, symbols and metaphor.”

CATRIN MORGAN The Age of Wire and String

The Age of Wire and String by Ben Marcus is a classic of innovative fiction. The novel is a handbook for surviving in a strange new world both like and unlike our own, one in which language has undergone a surreal revolution and words can no longer be trusted. Catrin Morgan’s intention in approaching the text is to make images that introduce a similar revolution to the idea of illustrated fiction. This series of images from a body of work made in response to The Age of Wire and String are documentation of a vision of the world conjured by the novel.


The Itinerant Illustrator 2014

The center is not the center

LUCY DICKSON She Slept Under Strange Roofs All Her Life

Dickson’s work is inspired by Raymond Carver’s poem “Sleeping”, which reflects on the idea of an itinerant being. In the text she found each place to be representative of a thought, of how, as an illustrator, one can find inspiration, and perhaps more importantly, solace in many places, both physically and mentally. One thinks in strange places, in strange ways, with hope of making sense of the world. Dickson makes work that is reflective in this nature, in her understanding of people and their habitual way of living.

ROSIE BOWERY Stories Written Before Space Travel But About Space Travel

This work is an amalgamation of Bowery’s continuing explorations into context, political artworks, and an inexhaustible fascination with iconography. The embroidery uses Philip K Dick’s novel Do Androids Dream of Electric Sheep? to express horror, and attempts to fuse the narrative historical expressions of tapestry with the graphic reportage of modern media. “Stories Written Before Space Travel But About Space Travel” is chiefly an imagined future, and its concerns lie in where we are traveling to and who is leading us there.


The Itinerant Illustrator 2014

Its not even past/ Time Transformed

Made in Lahore

VIDHA SAUMYA Guftagu: gutarrrgoon “Guftagu: gutarrrgoon” is a documentation of ephemeral encounters with rickshawallas in Lahore and Mumbai. The open-close architecture of a rickshaw strikes a balance between public and private, becoming the perfect set-up for an impromptu exchange of questions, information and inquisitiveness with the rickshawallas in both cities.

The series recounts the unpleasant experience of getting measured by a male tailor for a saree blouse in Lahore. The ‘normal’ practice for ladies’ tailoring in Pakistan is either to give a sample to the tailor or to be accompanied by another female who will take measurements on instructions by the tailor. Completely unaware of this, the artist’s going to the tailor for measurements to be taken by him wrongly communicated approval to be touched.

SURASTI K. PURI Mirages of the Past

“Mirages of the Past”, an attempt to explore the history of Bangalore, uses images and words to bring out a fantastical experience, and tell a story about cities that were, and people that lived. Using maps as a tool to study Bangalore and to chart its possible tra jectories, Puri embarked on an exercise to acquaint herself with a city she knew little about although she lived here. Maps have customarily depicted cities and their truths, but by combining fictional narratives and a ‘real’ city she creates intrigue and curiosity for an abandoned history. The maps are stills of a city caught midway between the familiar past and an unknown and strange future, to depict alternate histories of Bangalore.


The Itinerant Illustrator 2014

It’s not even past


Henry Tate: Memory of Place in Illustration

To be published by Tate Publishing in 2015.

When researching a project for Tate Publishing, Ingman discovered that the founder of the Tate Gallery started his career as a grocer in his home town of Birkenhead in Merseyside, England. Having walked down the street where the shop had been located many times, it was this spark that ignited memories of his childhood and the thought that his family ancestors most probably would have been customers at this shop. Thrilled to make this connection, Ingman set out to reinvent Henry Tate as a book character, drawing on his own childhood memories and combining it with a love of painting to weave a narrative. The paintings have references to experiences and influences in both Henry Tate’s and his own life.


“The focus of these images was on architectural change, and its impact on communities. In addition to commemorating the old and lost buildings, the drawings invented a semi fictional near future in the transformed neighbourhood. Most of the work was architectural, but occasional figures had supporting, semi abstract roles. Environmental and social issues were central to the project: for many years, King’s Cross was connected to prostitution and drug abuse and had issues of safety. With the arrival of the Eurostar, and commercial developments, a new kind of society began to move in, bringing with it other issues - for example an emphasis on the corporate and commercial, as opposed to the concerns of the local communities.”

The Present in the Past

“These drawings piece together layers of architectural history in the largest area of urban redevelopment in Europe (the Kings’ Cross project) by appropriating fragments from print archives, transforming them in scale, context and content to evoke a sense of passing time. The unbuilt places of the future and the disappeared buildings from the past are imagined and revisited. Part document, part fiction, the work presents architectural regeneration as inevitable, while considering its effect on the environment and communities of today.”


The Itinerant Illustrator 2014

It’s not even past


Redniss’s work for the New York Times combines on-location drawings and oral history to look at issues in the news in unexpected ways. She conveys layers of meaning by seeing the world through the eyes of idiosyncratic individuals. She works in pencil and carries a tape recorder. When Redniss sets out to create a piece, she tries never to have a preconceived idea of the completed work. Instead, she hopes to be surprised by what she finds and that she can convey this sense of openness and discovery to the viewer.

GARY POWELL Burnt Offerings

Powell’s practice involves crossbreeding processes, fusing ideas to produce hybrid images as ‘visual reasoning’ through reinterpretations of received knowledge. These images explore interchange/tensions between transcultural identities, migration and post-colonial reflections on personal/collective history. According to Powell, history reveals him as a ‘Hybrid’ and walking ‘Palimpsest’ with family roots extending to the West Indies and India [East Indies]. Understanding history is like an echo of the past in the future; a reflex from the future on the past. Powell responds to acts of collective and self-sacrifice shown by Indian soldiers during the First World War, whom he sees as ‘burnt offerings’ in the fight for freedom, a time in history which was rewritten, forgotten or unrecorded. gary-powell 13

The Itinerant Illustrator 2014

Generality in the specific

BEEHIVE COLLECTIVE True Cost Of Coal The Beehive Collective, based in Maine, USA, collaboratively creates activist graphics after long engagements with various local communities to research complex social and environmental issues. The volunteer-made results have no single author. The images are copyright-free, and accompany teaching material and presentations to enable discussions and greater understanding of how small elements comprise the seemingly convoluted issues addressed to audiences in the areas affected and across the world. “The True Cost of Coal� is a graphics campaign and teaching tool to tell the story of coal mining through destructive mountaintop removal in the Appalachian mountain region of the United States. Detailed View

Image Courtesy: Tara Books

BHAJJU SHYAM The London Jungle Book

Bha jju Shyam, of the Gond tribe of central India, disarmingly spins the West’s anthropological gaze back on itself in this stunning illustrated travelogue. With radical innocence and great sophistication, Bha jju records his observations of London, transforming the city’s street, pubs, and monuments into strange and unimagined bestiaries. A witty and ceaseless inventive artist, he uses the visual language of his native tradition to re-imagine the city. 15

The Itinerant Illustrator 2014

Generality in the specific

GARETH PROSKOURINEBARNETT The Future Ruins of Bangalore The project usest psycho-geography and ‘hauntology’ as a basis from which to examine notions of progress, change, dis-locationdiscovering the lost forgotten and misplaced, reflecting a landscape in a continual synthetic flux. Virtual walks completed in the UK using Google Street View were recorded digitally before being processed and transferred to 35mm slide. The journeys were physically re-enacted in Bangalore, where the opportunity to collect street debris forms the basis of a series of ‘drawings’ using flatbed scanners. By analysing the surface and material details of the landscape as experienced in a virtual and physical sense, the unknowns of the city’s inner workings are revealed. Proskourine-Barnett explores overlaps between analogue and digital technologies to investigate emergent hybrid processes in reportage illustration.

GUILLAUME KURKDJIAN Guillame Kukdijan’s animated gifs can be read as a single story-telling loop, or build as a narrative when repeated. He inscribes the limits of his compositions in a circle, so that onscreen they might appear as buttons at first glance. Within the circles are isometric buildings, whose muted yet colourful palettes offset slightly sinister stories. Kukdijan, who is from Nantes, France, says that he likes simple gifs. However, their clean, minimal style is fraught with multiple interpretations.


The Itinerant Illustrator 2014

Generality in the specific

TOBY MILLMAN Hamtramck Alley What began as a series of photographs of alleys around the working class neighbourhood of Hamtramck, Michigan, (a region of Detroit) are now ephemeral cut paper forms pinned to cardboard. These pieces use cheap, readily available materials to show the liminal – and often ignored – spaces that run between each of the streets throughout the small city-within-acity. Hamtramck, measuring roughly two square miles, is surrounded by the larger City of Detroit and was once a large community of Polish immigrants to the United States. Currently it is home to people from many regions around the world, including Yemen, Bangladesh, Ukraine, Iraq, and the former Yugoslavia.

CHRIS GLYNN With CCTV pervading the UK’s public spaces, the public has become sensitive to having their images recorded. However, drawing on location continues to have a very different impact from photography: the artist becomes the spectacle and most people are fascinated to see a drawing emerge on the page. Glynn has found that the practice of drawing in public becomes an informal travelling theatre, with terms of engagement more often negotiated through glances and body language than in words. His books affirm the value of drawing from direct observation, while their limitations testify to the attrition of time and the challenge of speaking truth in drawn images.


The Itinerant Illustrator 2014

Somewhere in the middle

SAMEER KULAVOOR The Ghoda Cycle Project “The Ghoda Cycle Project” is a visual document of the myriad avatars of bicycles in the rural and urban landscape of India. The series emphasises the framework, structure, decoration and design of the cycles of India.

The Blued Book “The Blued Book” is an illustrated documentation of the use of taad-patri, as it is called colloquially in India. Blue tarp is comparatively inexpensive and typically used as a creative jugaad solution due to the strength and convenience of the material. During monsoon, the city often seems like a sea of cobalt blue due to the excessive use of tarps.

SOPHIE HERXHEIMER Herxheimer uses the spontaneous process of story-collecting and drawing in response to conversations with members of the public. “There is too much to say about this process, which has evolved into a systemised practise that combines my favourite work zones: words and images – with content that fascinates me: people – and the apparently ordinary stuff we do, like peel the potatoes, go for a walk, have a baby. People queue up to tell me of their experiences, and every single one has qualities both unique and universal. I take between 10 and 15 minutes to listen to and then write and draw each story. Enough time to laugh, cry and draw, but not to judge or even to ‘think’. When I work on this for several hours I go into an altered state, this listening and drawing put me into a kind of trance, and it takes a few days to recover. It is meditative and intense, and even if sometimes the stories themselves seem trivial or anecdotal, they usually contain a metaphor of great value.”


The Itinerant Illustrator 2014

Somewhere in the middle

THOKA MAER Thoka Maer is a Berlin-based illustrator currently living the ‘itinerant’ lifestyle herself – traveling and making work. “Something I intended as more of an ironic comment can often be appreciated as a serious, genuine message. One of my favourite and unexpected interpretations features a suited man with two interchanging heads on sticks. I intended to illustrate a particularly annoying habit of German politicians where they like to play devil’s advocate, just arguing against whatever is being put forward, disregarding reasonability. But at the time of posting this GIF, the Jasmine Revolution was happening in Northern Africa and my GIF landed on revolution blogs as an illustration of the ambiguity of their governments. I guess it was the beards. So it’s usually surprising and reassuring when people write to me as complete strangers, regardless of where they’re from, just to let me know what they liked about my GIFs.” -quote from interview with Thoka Maer for Varoom magazine. www.thokamaercom

RONIT MIRSKY Terms of Memory

In this project Mirsky explores the dissonance of language and material. To burn something in the mind is to remember it. To burn a tangible object is to forget it. Intaglio is to incise an image, a memory metaphorically, into a concrete object. It is to draw onto a metal plate and then burn it into the acid. The acid eats up the image embedding it into the material, just like a memory is embedded into the mind. But burning it too much in the acid can be dangerous: the acid keeps eating the memory until nothingness. With no material there is no memory. The same dissonance exists when printing the intaglio. Instead of having proof, with every print the metal wears down, the memory flattens, becoming vaguer. The more it is printed, the more one will try to memorize it, the vaguer it is. As for re-telling a story, or re-drawing and burning it into the metal, with every new layer of drawing the memory becomes more abstract and less clear.


The Itinerant Illustrator 2014

Time transformed


Los Angeles-based artist and animator Miranda Pfeiffer creates hand-drawn animated GIFs that are absolutely mesmerizing. Inspired by things she sees in daily life, the artist uses mechanical pencils and tracing paper to meticulously illustrate each frame, afterwards sequencing them in Photoshop to create seamless animations that loop endlessly.

RODERICK MILLS The Iran series Responding to the travel writing of Nicolas Bouvier’s The Way of the World, the illustration series is based upon a journey across Iran in the 1950’s. Mills is interested in the traveller’s half-glimpse visions of cities, flickering scenes of architecture viewed across the landscape, impressionistic in tone of partially remembered cities and colours. Using archive reference material of palaces and gardens, he uses seeped-out colours to depict transitory memories. The ink of the felt tip pens used will naturally be affected by light in time, not unlike chemical-based photography – the drawings are not entirely fixed. The compositions of lines create tonal shapes that interplay with representation and abstraction, to make the drawings transparent, almost ethereal, yet recognizable. 25

The Itinerant Illustrator 2014

Time transformed

CHRISTINE McCAULAY Nagaland, Borders Boundaries Belonging In 2011, McCaulay travelled for the second time to the NorthEast of India, retracing part of her father’s journey as a soldier in the Burma Campaign during WWII, both literally and through image-making. “When working on location I keep both a visual and written journal. I see my current practice as echoing that of generations of Lady Travellers; embracing the need to journey, to be in a liminal space, to have a plan but not be afraid to divert from it. To be alone, take a sketchbook and make images is, for me, the definition of the itinerant illustrator; one who travels widely in geographic spaces, visual forms, and ideas, in order to get lost and find the unlooked for. In making the finished work the material quality of the book and the processes by which it was made become very important. The historical resonance of the medium and the time consuming nature of the process paid homage to the material culture of the Naga hill tribes, the historical debt that the allied soldiers owed to them and the kindness and hospitality that they showed to me during my stay there.�

STEVE BRAUND The Science of Meditation The paintings exhibited form part of a body of work illustrating allegorical stories that relate to the practice and theory of meditation, drawing from Buddhist and Yoga traditions. Many of the images illustrate stories from the Dhammapada. “As an illustrator I have had to consider how my visual language can shift to both embrace and respect certain cultural characteristics from historical Indian narrative depiction and how these images can be made accessible to a multi-cultural audience. In this sense the visual language has travelled to embody certain iconographic approaches to the drawing, characterisation, and the composition of the picture space.�


The Itinerant Illustrator 2014

We became ourselves

ELEANOR BARNARD Barnard’s work explores the idea of journeys to different places within the realm of dreaming and the unconscious mind. She is interested in the notion of travelling as a concept that can be pursued internally, and how such travellers feel they’ve experienced a new position without the need for a change in physical location. The space that occupies the mind and its internal thoughts is as much of a world that can also be mapped, a capability of every mind. The illustrations are a reflection of remote and frequently revisited atmospheres from the artist’s dreams and subconscious, representing the challenge of translating this into imagery. eleanorbarnardillustration

LAURENE BOGLIO Laurene Boglio works in magazine graphic design but also shares her hand-drawn animated GIFs online for wider viewership. The simple rhythm of black-and-white fills or simple patterns bridges the analogue foundation with the digital final piece. Many feature dance-like movement, which becomes mesmerizing in the loop of the GIF.


The Itinerant Illustrator 2014

We became ourselves

STEPHEN MADOC PIERCE Follow Me The work considers the disturbing issue of identity in the digital world and the dark consequences of virtual reality. With a focus primarily on the accepted language of social media such ‘Search me, Find me, Follow me’ that imply a voyeuristic and invasive world, it highlights how the act of ‘exploring’ can easily become ‘exploiting’. Perhaps all those who engage with this world are capable of becoming the predator. “I have been brought up in the shift of social grounds from playing outside to playing online, inside. The shift of the playground from the external to the internal, has given way to a host of possibilities and dangers that fascinate, excite and scare me. I stand between two worlds, the real and the virtual, watching as the boundaries blur and become one.”

SONIA JOSE Stories of Loss and Desire “...The wash in each story is carried by blots that blur definitions. Humour and allegory can almost be seen as analogies adopted by the artist for desire and loss, respectively. Whether it is a shadow exposing the intangibility of desire, or a personalized take on Sisyphus rolling a boulder up a mountain; what the work reflects is a healthy dose of irreverence for the enormity of loss and desire. The heart (and the idea of feeling) is reduced to an object of play, a piece of meat, an inflated balloon or even perhaps a clinical experiment to be preserved in a jar for posterity.� - Malavika Ra jnarayan, 2014 /?portfolio=sonia-jose


The Itinerant Illustrator 2014

Hardly an escape

MARGARET HUBER Day Return to Brighton Day Return to Brighton is a project of over a thousand drawings on used train tickets from Huber’s daily commute from London to Brighton. Setting a few ground rules, she limits the drawing materials to pencil, pen (blue and black inks) and white correction fluid, keeping the project portable. Huber never threw tickets away: if she made a mistake she kept working on it until she was left with something she liked or could use, which meant possibly ending up with a virtually black ticket. For the most part she tried to work with mistakes, remembering that she was allowed some less-than-wonderful tickets over the long haul. Every ticket used in the series was bought by Huber and were used for her daily commute to Brighton. This reinforced her initial objective- to find a positive way to acknowledge the time and money invested in commuting. Each ticket represents one day of her working life.

bring those memories alive. And to trace back the history of my grandparents and family, where they had been, where they came from.

KANITTA MEECHUBOT A Landscape of the Mind

“A Landscape of the Mind” examines the ways in which individuals project their psyche onto nature and landscape. In this series, delicate paper cutting becomes an excision, revealing a glimpse of an internal landscape. The viewer is invited to dwell within layers upon layers of thought, as the artist unravels the secrets that lie beyond the human physical exterior, through collage and image reconfiguration. “My work focuses on my journey across my family tree. I use faded family photographs to

The tree becomes a symbol of birth and death through the change of seasons similar to a human being’s life cycle. I focused on working with the natural beauty of dried flowers, organic materials and my family photographs. ‘The seasons of a soul’ is the series of my grandparents’ lifetime journey through the changing seasons. I wanted to bring to life old photographs and capture those incandescent moments lost to time. Their first meeting is like spring when flowers are reborn and the heavy scent of new blossom permeates the air. In the summer their relationship ripens – they marry, raise a family, retire into old age. In the blustery fall of leaves in autumn her illness is revealed and then, finally, the death-carriage bears her away when winter comes.”


KATE OWENS AND NEETA MADAHAR Me and the Black Dog “Me and the Black Dog” is a handdrawn art animation exploring depression through the interactions of a protagonist and a large black Newfoundland dog. Neither Neeta nor Kate are animators or illustrators, but they felt that hand-drawn animation was the right medium for the subject matter. The medium’s accessibility, directness and associations with childhood, allow the artists to explore early subconscious narratives, and the wildness, violence and humour that these stories often contain. The work aims to challenge how mental illness is perceived, thereby lessening the shame that surrounds it.! kate-owens-neeta-madahar/cyfh


Acknowledgments Curators: Anna Bhushan, Alison Byrnes, Matt Lee Artists: Catherine Anyango, Eleanor Barnard, Gareth ProskourineBarnett, Laurene Boglio, Rosie Bowery, Steve Braund, Beehive Collective, Lucy Dickson, Chris Glynn, Sophie Herxheimer, Anne Howeson, Margaret Huber, Bruce Ingman, Sonia Jose, Guillame Kurkdijan, Sammer Kulavoor, Thoka Maer, Christine McCaulay, Kanitta Meechubot, Roderick Mills, Toby Millman, Ronit Mirsky, Catrin Morgan, Kate Owens and Neeta Madahar, Miranda Pfeiffer, Steve Madoc Pierce, Gary Powell, Surasti Puri, Graham Rawle, Lauren Redniss, Matthew Richardson, Vidha Saumya, Bha jju Shyam Host Institution: Srishti School of Art, Design & Technology Partners: Cardiff School of Art and Design, Manchester School of Art, Srishti School of Art, Design & Technology, Illustration Research Students: Shuchi N Bellare, Antara Bhargava, Shruti Bhatnagar, Thanik Jaganath, Arunima Jain, Priyanka Jain, Rupika Joshi, Harini Kannan, Juhi Kedia, Yash Sanjay Khataokar, Shelton Lobo, Shubhika Dilip Malara, Mohavi Mohandas, Shweta Shirish Mulekar, Madhav Nair, Antra Kaushika Nair, Sachi Khemchand Patil, Gnanaeshwar Srinivas Radhamani, Natasha Mamta Sharma, Tanya Singh, Nimisha Singhal, Kritika Trehan, Kristel Marina Viegas, Rae Miriam Zachariah Cover Illustration: Anna Bhushan

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