Clearly, Vikram, the Conqueror, has returned from Milan’s Salone del Mobile in a blaze of glory. For, not only did he make a triumphant debut at the biggest design show in the world, but he also now has a tie-up with one of Italy’s leading lights, Nina Yashar, design powerhouse and founder of Milan-based Nilufar Galleries. His select works will now be represented by her on an international platform, creating awareness about Indian homegrown design, art and heritage.
Yashar opened Nilufar Depot in 2015 in a former silverware factory, a large 1,500 sqm spread over three floors. Located in Via Lancetti, and inspired by La Scala Opera House, it hosts the extensive Nilufar collection in a setting where contemporary design harmoniously dialogues with iconic historical design pieces. “Our works have found a natural home in this inventive space, and led to an exciting association with Yashar’s singular vision, a reference point for artistry and collectable contemporary design,” says Goyal.
As for the pieces on display, there’s his Archimedes’ Twist, a console that is both furniture and sculpture. Created by the measured manipulation of brass, hollow forms of metal are twisted into a seemingly infinite loop. Then, there are Braque’s Geometry wall sconces in abstract sculptural forms, crafted from beaten brass. Arranged in an overlapping composition, they evoke the paintings of renowned French artist, George Braque.
In the Thar bar cabinet, ripples of cut brass resemble the dunes of the desert. Each facet of its mosaic surface is crafted from a sheet of hammered metal, deftly assembled along the curves of an undulating framework. The bronze Ophidian cabinet has a snakeskin pattern across its facade. Each scale is created by the studio’s signature use of repoussage, a laborious and highly skilled process of hammering low-relief designs into malleable sheets from the reverse.
The architectural Borobudur table gets its gentle curves from the famous stupas of the ancient Indonesian temple. The tiers are made from metal spinning. The asymmetric, dynamic form of a pyrite crystal serves as inspiration for the multi-faceted Geodesic table. Geometric angles are created through the process of hollowed joinery, wherein individual sheets of beaten brass are joined together to form a singular prism. All in all, a bold new representation of old Indian craftsmanship, something hitherto unseen on a world stage.
The conquest of Italy may be new, but Goyal has been a seasoned warrior for the past two decades, crafting collectable design objects with a focus on metal, particularly brass. “Our team of skilled craftspeople continually experiment with extending boundaries of traditional techniques, base pairings and conceptual narratives—with extraordinary results. This was an opportunity for us to display our limited-edition series reflecting the studio’s innovative craftsmanship while composing a new design vocabulary from India,” he says.
India has a long history of metal craft, which has been practised by generations of artisan communities. Goyal works in brass because it is an ancient metal, and therefore, has a repository of knowledge to refer to. Also, he adds, as a material, it can be experimented with like no other. “The sheen and patina add to the texture of our work, and unlike most metal studios that work with cast objects, we work with sheets,” the designer says.
How does Goyal balance the traditional and contemporary aspects of his designs? “When we started out in the early 2000s, we were inspired by elements from Indian art and architecture such as finials, and motifs of lotuses and cows from Pichwai. At that time, our audience was primarily local, and this was part of our India Moderne design language,” he recalls.
Gradually, he moved to other inspirations such as nature and Art Deco. That’s when he started engaging with international clients. “There was a movement from literal imagery to more amorphous, abstract forms. They preferred this kind of luxurious, organic yet minimalist aesthetic. The figurative work went silent while this new form —which included brutalism—became very strong,” he adds.
Another form he is most passionate about is repoussage. Traditionally, it was used as surface decoration, mostly in devotional themes with flora and fauna motifs.“I wanted to move away from that, and bring in things that interested me visually such as chinoiserie, cranes, peacocks and organic abstract patterns. This has enabled deep engagement across a wide spectrum of the visual arts. I also believe that there are people who like to have objects which show a higher level of consciousness and material intelligence. The idea of the handmade and the artisanal addresses this desire,” he says.
As for the way forward, he intends to not only raise awareness about the power of design, but also leverage this vehicle to effectuate change in the world’s craft economy. The Nilufar collaboration is just the first step.