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always a conflict of surfaces and ‘under surfaces’ with no single fabric holding a
stable position in the design.
The technique of Bandhej 25 from Northern India is used to create the embossed
surface of the design. The textured fabric with its embossed surface is representative
of the advanced stage of HIV/AIDS warts and other diseases to which these women
are vulnerable. 26
The crinkled, distressed, bleached, and textured cotton fabric signifies the
psychological status of the workers. The fabric is perforated and weakened,
distressed and faded.
All parts of the design are both connected and disconnected; the fabrics are linked,
but not harmoniously.
Sewing these textures onto the black, knitted fabric references how society covers,
uncovers and uses these women to suit its own needs. While these women are
trapped in the industry, it becomes difficult for them to protect themselves or to
raise a voice against their own exploitation. Because of this, the artwork is designed
to have a form only when a ‘user’ shapes it on the body of the woman. The work is
tied or draped by others; the worker is trapped within it. Her hands are not free. She
has no control over what is covered and what is revealed. She is not covered by
fabric but covered by interwoven references to her exploitation. In ‘dressing’ her, the
user manipulates her state of appearance and freedom.
When the woman is not dressed, the fabric drapes like a textured, damaged shadow,
dragged across the floor.
25 Bandhej is an old method of creating pattern on fabric by tying lintels on cotton or silk based fabrics.
26 HIV infection among Indian sex workers according to World Health Organisation, is projected to
reach 330,000 by 2033 (WHO reports (2001) AIDS in ASIA: Face the Facts. p.27).
23 23