Sarita Sundar — “To design is to be able to add some method to the madness, and some madness to the method… eventually to evoke inspiration through both beauty and order.”
Sarita Sundar is a graphic artist and researcher who founded Hanno, a consultancy that visualizes and curates diverse narratives with a particular focus on museum, heritage and social communication. At Hanno, she combines her experience in brand strategy and design solutions with her academic training in museum studies and heritage interpretation. Previously, Sarita was a Partner at Trapeze and Design Director at Ray + Keshavan in its early years. With the lens of a researcher, she takes a critical look at how Indian culture engages with the visual. She also has an interest in the evolution of design education and is actively engaged with discourse on the evolution of industrial and graphic design practice in India.
Complete the sentence: If I wasn’t a designer, I would have liked to be a sportsperson, whether I have the ability or not! Today, the role of designer does offer the opportunity to take on different hues and I am thankful that one need not be straitjacketed to the more traditional labeling of being a designer.
To design is to be able to add some method to the madness, and some madness to the method; to create logic and yet break free from its shackles — eventually to evoke inspiration through both beauty and order.
How does the indigenous and global visual culture intersect in India?
Quite creatively, I would think. There is surely a duality and sometimes a lack of continuity between thoughts in a single design piece when the indigenous and global intersect — one leg in tradition and another stepping out to some idea of the future. Sometimes these ideas battle with each other at other times they can co-exist in perfect synchronicity.
What would you say is the defining characteristic of “modern Indian” design?
It would be very reductive to have a single defining characteristic for what we characterize modern Indian design. Earlier it would signify the usage of contemporary materials and methods in a clean, uncluttered visual language while retaining a token element of an Indian motif. But I believe to be truly ‘modern’ in the conceptual sense and not just the formal sense, Indian design should ideally embrace the real challenges of today, whether they are issues of over-consumption, waste, inequity or exclusion.
Being creative is largely about having the courage to fail repeatedly. Could you give an example from your own experiences of a project that failed? What went wrong, and what did you learn/take away from that experience?
A few years back I had curated a set of installations with a group of young artists for an international sports apparel company under an ‘Upcycled’ theme. This turned out to be merely an attempt at ‘greenwash’ with no concerted attempt to actually communicate a broader message, engage with communities or provoke change. I was disappointed to say the least. I have become a bit wary of such situations and think I will be able to tackle a similar situation differently now.
You wrote a paper titled “Indians don’t like white spaces”. Can you give examples of how intangible aspects of a community reflect in visual culture?
Layering and the multiplicity is often reflected in our TV talk shows that have a dizzying array of tickers battling with loud voices. This can also be seen in the densely layered Indian calendars — the panchaakams. I have often wondered if our minds are differently wired to be able to process information through all these multiple channels coming out to us all at the same time.
What kinds of different hats have you had to put on while working in a designer’s shoes? Which such role/project was most challenging?
Curator, project coordinator, researcher, writer, editor, supervisor, therapist, sound board… Being researcher, curator and project coordinator rolled into one for some of the books and exhibitions I have worked on have been the most fun and challenging- recent ones were ‘A World without a Roof’ and ‘Back to the Future’ for Godrej Archives.
How can one get outside their own perspectives and preferences when designing for a different audience?
By listening, and I mean really listening — by experiencing rather than only listening, and being ready to do an ‘about turn’ on the point of view one started with — will help get under the skin of different audiences, I imagine.
What is the most valuable lesson you’ve learnt from someone who is not a design practitioner?
A senior scientist and co-curator whom I worked with taught me to keep the thirst for knowledge and learning always alive. I do try to hold onto that lesson.
What is the most iconic visual feature of Bangalore that comes to your mind when you think of the city?
The casual sprinkling of the very tropical and exotic red Africa Tulip flower on wet roads.
And finally, to wrap up — How do you spend a perfect Sunday in Bangalore?
My best Sundays have been when I get a chance to step out to the minor heritage sites and landscapes outside Bangalore, I cannot say I am a fan of urban Bangalore.
Find Sarita on:
Instagram @sarissari007, @saritahanno
Facebook/ (Sarita Sundar)
LinkedIn /sarita-sundar-38624a6
Hanno: http://www.hanno.in/
This interview is a part of a series of conversations with designers from Bengaluru called ADI Diaries. You can find more interviews here.
Follow ADI Bengaluru on Instagram at adi.bengaluru
