The group’s objectives were now slowly brewing up with avid curiosity surrounding depiction of idols and figures on walls, with a salient absence of depiction of women in places of grandeur. What we revised, was a relationship between female prominence and history pedagogy.
Runjhun Kejriwal, taking forward the group’s citations of Saalumarada Thimmakka; an Indian environmentalist from the state of Karnataka, noted for her work in planting and tending to 384 banyan trees.
Akka Mahadevi in 12th century, was one of the early female poets and considered a prominent figure in the field of female emancipation. Her non-conformist ways caused a lot of consternation in a conservative society and even her eventual guru Allama Prabhu had to initially face difficulties in enlisting her in gatherings. A true ascetic, Mahadevi is said to have refused to wear any clothing—a common practice among male ascetics, but shocking for a woman.
Chandana Bangalore along with Amshumanth Gowda, took this forward as she wanted to paint this in the most dingy place she could find on the stretch.
To the left of the image: line drawing of Mokshagundam Visvesvaraya, by Ayush C Joy.
To the right of the second image: Colour manipulation and retouching rendered over Mahishasura, by Yash Bhandari.
Bottom : Hrishitonoy Dutta’s frog in motion. Nainika Nagesh on Tar Barrel.