India Licensing Post’s editorial team got an opportunity to converse with Jasmine Shah Varma, an art curator, and writer. She shared her views on the business dynamics, market scenario, and opportunities for art licensing in India.
When did you chance on this opportunity of working with Indian artists and licensing their work?
– My long association with contemporary Indian artists has made licensing their art possible. Indian Colours launched in 2013 but I had been writing about art and curating exhibitions of contemporary art since much before. My endeavor was always to bring in newer audiences and for them to understand the medium of visual art in India. I found after years of curating that people simply did not prioritize visiting art galleries and making an attempt to appreciate art. I did experiments such as get artists to paint on postcards and lampshades in the hope that it will draw in newer audiences. We had success with the regular art gallery audience. Eventually, by 2012 I started wondering what if art were made a part of the mass lifestyle, homes filled with art collectibles which are not just there on the wall but can be used as bag, scarves, mugs and other things such that anyone who sets eyes on them can own it. I shared my vision with artists expressing the need to reach audiences beyond gallery spaces and entering their homes through affordable products. They supported it wholeheartedly. Contemporary art of a country need not be a privilege of just a few, it should reach the masses.
What are the artists that you work with?
– The artists associated with Indian Colours are practicing artists, who work in mediums such as painting, photography, mixed media and installations. They are based in different parts of the country and all of them have years and years of art practice and long lists of exhibitions behind them. They are internationally noted whose original works are priced considerably. Some of the artists we work with are Anjana Mehra, Babu Xavier, Brinda Miler, Deepak Shinde, Dhruvi Acharya, Jaideep Mehrotra, Samir Mondal, Shruti Nelson, Shubha Gokhale and Waswo X Waswo among a growing list.They are fine artists and not illustrators, graphic designers or hobby artists. It is a privilege to have the opportunity to adapt their creations to utility products and not sell at a premium.
What is the product mix and distribution platforms?
– We have wearable art which includes stoles, shrugs and kaftan dresses for women. We recently launched art shirts for men. The next category we have is home décor including cushion covers, table linen, ceramic plates, mugs, and coasters. And we have accessories such as pouches, canvas tote bags, and sling bags. We keep adding to the repertoire.
All our products are sold online on
Indiancolours.com. They are listed on Flipkart and Amazon besides niche marketplaces like Mojarto and StoryLtd. For the physical experience, we retail through standalone boutiques in various Indian cities.
Who are the typical consumers?
– Mostly, people who are looking for unique, classy articles at comfortable price points. They may or may not know about the Indian art scene or specific artists we work with. They are always glad to know that their eye caught something irreplicable and unique which has a story behind it. They are often bought for gifting as our products are exclusive.
Art licensing is a large business in the west. What’s your experience been in India?
– I have observed that people like aesthetically appealing things that stand out from the regular. That said because there is a gap in the awareness of what a work of art is vis a vis kitsch art, graphic design or illustration, people are unable to value the creativity of the established artists who spend a lifetime to create a unique visual language. There is also the confusion over mass-produced designs vis a vis the limited run of digitally printed products. The lack of understanding the difference is most evident among managers in charge of merchandise acquisition in shops and chain stores. Since there is so little knowledge of what fine art is and how it is made, there are some challenges. But we are getting there a step at a time over the years.
Do you partner with organized retail? Which outlets have been more receptive?
– We are doing very well with standalone specialized boutiques that cater to niche audiences. We have not yet started with retail chain stores. But we hope to get there soon as we will be filling the gap for aesthetic and genuinely collectible utility products in the market.
Anything to do with art is still considered the preserve of the wealthy, how have you sought to dispel this notion and make art more accessible?
– Typically, paintings by the artists we work with sell for a few hundred thousand. These can be seen only in art exhibitions in galleries and museums. They are perhaps available for viewing to the public once or probably twice in the life of the painting. We make an artwork accessible in multiple places at once online and through shops. Our price range starts at Rs 250 for art by any noted artist in our repertoire.
Which product forms lend themselves best to art?
– With digital technology, the sky is the limit.
Which are the key criteria you look for in a potential licensor?
– Firstly, the artist should be well established and noted for their fine art. Not all art is adaptable. So, artworks that lend well to adaptation are selected. Finally, the art should meet my aesthetic criteria. Indian Colours is a curated experience.
Has the online channel broadened the horizon for Indian artists to license their work? Can you share some examples?
– I do not see any online or other channels that works with respected, top-notch artists for the Indian open market. There are websites that work with graphic designers and illustrators, which is different from licensing contemporary art.
How does the commercial construction work between you and the artist?
– We work on a royalty basis.
You’re considered one of the pioneers in the field of art licensing. Prior to that, you were a journalist. How did you make the jump?
– From writing about art for mainstream papers I went on to curating art exhibitions. Through my experiences of curating and looking how audiences perceived the notion of contemporary art, I realized that an effort has to be made to bring art to them in a manner that is least intimidating. I wanted to do more than offset reproductions on paper. Thus, I started finding ways to make that happen. Having no background in production or manufacturing I thank the internet where I stumbled upon digital technology which is cost effective and fast compared to previous means like screen printing for reproduction of art.
Tell us about some of the upcoming initiatives/exhibitions planned by Indian Colours.
– This year Indian Colours will be focused on taking the wide range of products to more physical stores.
