As she sits down for an interview in her studio in West Bloomfield, Michigan, Boisali Biswas points out the wall behind her; a wall plastered with images of landscapes, patterns and symbols that serve as her inspiration. While the images draw my attention, there is no ignoring the large mahogany loom in the center of the studio. Yet one glance at her work will illustrate that her work is far from the traditional textiles created using a loom. The vibrantly dyed fabrics and textured wallpaper are attention grabbing, while the linear quality of the woven threads leads your eyes through a maze. With netted onion bags interlaced with Indian fabrics, Biswas’ distinctive and inventive art is a far cry from the label of “traditional.”

Originally from Calcutta, India, Boisali Biswas later moved to Bangalore during her childhood years. It was her father, an engineer with a knack for drawing, who inspired her to explore the field of visual arts. Upon graduating from 10th grade, she decided to attend Visva-Bharati at Shantiniketan, which transformed her life. The Rabindranath Tagore-founded university was a very different academic institution, one that was very art-oriented and in tune with nature. This would later influence the subject of some of Biswas’ works. Seeing that she would need to find a different school to do her masters in textiles, Biswas opted to attend Bowling Green State University after marriage and moving to the United States with her husband. It was there that she honed in on the technical aspects of her work and became acquainted with other techniques of fiber art. With experience in this new medium, Biswas’ work evolved as she combined the two, weaving and surface design.

The variation in media can be witnessed through the set-up of her studio. A table with bottles of paint in the forefront, a loom right behind it, a small corner in the back for dying fabrics, each nook was a space dedicated to a specific type of art. However, Biswas does not only vary the type of art she makes, but also uses a variety of materials. Small, plastic drawers house scraps of fabric and netted onion bags. Other materials that Biswas incorporates into her work include jute, recycled saris, and even shredded photographs. More recently, she has begun to weave with paintable wallpaper; its textured surface decorated by the bright paint she applies. She notes that her work tries to incorporate a variety of textures and surface designs. This unique quality of her artwork, along with its “ethnic-flair,” drew many viewers when she initially began showing her work at libraries.

Over the years, she feels that her work has technically improved, especially as she has gained more freedom in creation by mastering certain techniques. When Biswas initially came to the United States, both she and her husband faced the financial struggles that most student face. Nevertheless, she was persistent, traveling to a downtown cultural center by bus in order to use the studio for her art. She states that these times were important for her to truly gain perspective on life. For the future, Biswas hopes to develop her art. While art may be moving to a digital age, she continues to use a traditional loom because she feels that there are many possibilities with this medium.

As we get to the topic of South Asian art in the United States, Biswas states that she would like to see more Indian artists represent at big museums, not just in the United States, but throughout the world. Ultimately, the best advice Biswas has ever received is the same advice that she hopes to give to future generations: “Keep working and be prolific.”

Once the interview ends, Biswas brings out her work and it is easy to see her inspiration. Small, screen-printed animal symbols reflect the Aboriginal art of Australia, while the vivid colors in another textile work portrays the vibrant Indian landscape and architectural sights of her home country. The folk art motifs found in Biswas’ fiber works were incorporated after having the opportunity to paint a mural with her artistic inspiration, renowned Indian artist Shanu Lahiri. While there are multiple materials and sources of inspiration, Biswas’ work culminates into one aesthetically pleasing work of art. Most importantly, she takes a traditional South Asian art form and fuses it with techniques learned the United States, which is truly a representation of a synthesis of cultures in contemporary times.

Listen to Indrani's full interview with Boisali Biswas: here

You can learn more about Boishali Biswas and her artwork on her website.
Indrani Saha is a SAADA Digital Archive Intern for Fall 2012. Learn more about Indrani and her project on our blog.