Bombay-based artist and organiser, Archana Hande, featuring in Artspace Sydney’s latest exhibition Amongst the clouds (digital materialities in the 21st century), in an exclusive conversation with Indus Age. Read on.

Your work often bridges traditional techniques and digital technology. How did this unique intersection of old and new become central to your artistic journey?

Aren’t we in the transition era? The word ‘tradition’ is often rigid in its concept; when you want to capture or retain a time and make it static, it doesn’t allow it to grow. I never look at any kind of “traditional techniques” because there isn’t one – I bridge the growth of time. We still use analogue and at the same time digital, both have their character and importance. The journey of any transition means you are not static.

In Amongst the Clouds, your installation Weaving Light draws from the history of Jacquard looms and punch cards. What inspired you to explore this link between early computing and textile work?

My works are always about ‘moving people’, and the new ‘moving people’ are the migrant labour.

Exploring the artisans and the migrant skilled labour, the economy of the states brings you to the journey of the textile industry, which was the primary industrial economy of South Asia. Tracing the fall of the industry – real estate looking at mill lands – the real estate value vs. running the textile industry leading to the job loss of so many workers and the union fights leading to the closures of so many mills – parallelly the development of technology and its implementation on the small-scale industry making the mill and textile workshop owners sell the property – shift from the city centre to the outskirts.

To see the growth of technology, as well as the loss of artisans and skilled workers, is the unbalanced story of the economy.

So in my research, it was interesting to see how the binary code was first implemented and tested on the textile looms and later programmed a computer. Realising the fight between technology and the workers in the textile industry has been a long journey.

As an artist from Mumbai working globally, how do your Indian roots and cultural heritage influence your practice today?

As an Artist, I don’t see it that way. Culture is what you make, and for me, the idea of ‘the roots’ is a problematic term in today’s world. We are becoming conservative because we want to see the influence of our roots and preserve it. Tradition and culture need to grow – to grow, they need changes.

Many of your projects engage with postcolonial narratives. How do you approach this sensitive historical terrain while maintaining artistic freedom?

Artistic freedom and freedom of speech have been an issue all over the world. It isn’t easy – I always stumble, and then make a way to work around the thoughts. I normally use an oral story narrative, which gives me the freedom to fictionalise the research, or, many times, my research on the moving people translates into an abstract fictional form.

Digital materiality is often invisible to the average viewer. How do you make the ‘unseen’ visible in your installations?

Normally, it is quite there – if observed, you can see it. The focus is on the experience, which leads to my research and its story. Digital is just a tool or a medium, like paint, to narrate and express.

You are also known as an organiser. How do you balance your own creative practice with collaborative and community-based work?

Both are interlinked – I can’t separate or compartmentalise them. Both compensate each other.

How do you see the role of women—especially South Asian women—in the global contemporary art scene evolving today?

Women artists always had a bigger role to play – today it is acknowledged properly. Women artists have contributed to the contemporary art scene with experimental works, as there wasn’t any pressure from the market. I always feel we have more freedom to express and experiment with thoughts, concepts, and material. And there isn’t any fear of failure. We have pushed ourselves not to encourage discouraged thoughts or failures.

What message or feeling do you hope audiences—particularly younger South Asian Australians—take away from your work?

I hope they will enjoy and experience the work to its full strength. I hope the work inspires them to experiment with research-based work and not fear the failures or rejection. The freedom to create without any censorship, fear, or restrictions will be the ultimate dream in today’s world.

Lastly, what upcoming projects or collaborations are you excited about, and where can our readers see more of your work?

There are many ongoing projects piled up – a continuous process – one project leads to another. Presently, I am working on a book called The Only Planet – it is my travel diary.
www.archanahande.com is normally updated every 6 months but I hope I can update it more often.

Archana’s work Weaving Light, 2009 – 2025, is exhibiting at Artspace’s Amongst the clouds (digital materialities in the 21st century) at The Gunnery, Woolloomooloo until 20th July.

For more information on the exhibition, see here: https://www.artspace.org.au/exhibitions/amongst-the-clouds