Craft and Identity in Art: Boota Collective Art Initiatives
In the vibrant landscape of Indian design, Brishti Biswas stands out as a third-generation maker from Jalandhar, Punjab, who crafts what she calls “Functional Art“—pieces that transcend conventional furniture to become vessels of cultural storytelling. Her design journey, featuring a unique mixture of craft and identity in art, which began during her architectural studies in Jaipur, was shaped by formative experiences including an internship with renowned architect Samira Rathod and work at Studio Wood in New Delhi, ultimately leading her to pursue a master’s in Furniture and Interior Design at the National Institute of Design, Ahmedabad.
In 2023, Biswas founded the Boota Collective art initiative—named after the Punjabi word for plant (ਬੂਟਾ)—an independent design platform that embodies her philosophy of slow, intentional creation. Each piece is meticulously handcrafted at her studio using ethically sourced materials, influenced by her eighteen-month immersion in her father’s workshop, where she mastered the traditional Indian craft of Dhokra casting.
Currently heading the design development of the Home Accessories Department at Delhi-based brand ‘Within’ as a senior associate, Brishti Biswas continues to expand Boota Collective through collaborative projects that honour Indian craftsmanship. Beyond creating beautiful objects, Biswas envisions design as a tool for positive change via socially engaged art practices, working closely with Indian craft communities to ensure their techniques not only survive but thrive in the contemporary world.
Q: How would you describe your signature design aesthetic, and how has it evolved while working in India?
Brishti Biswas: My designs essentially present an amalgamation of functionality craft and identity in art of India, thoughtfully crafted to resonate within the modern Indian context. They serve as my canvas of expression, characterized by my signature use of free-flowing lines, often juxtaposed with geometric elements. Additionally, my works predominantly reflect the aspect of ‘hand-work’. It brings an added layer of rawness & identity to my style.
I have always aspired to practice design in India, a dream that began during my undergraduate days in Jaipur. It was there that I realized and experienced the immense potential of this land of opportunities, enriched by its vibrant tradition of craftsmanship. Over the years, my exposure to different craft clusters through interactions, research and collaborations and my time at NID, Ahmedabad has helped my work grow in multiple ways and directions.
Q: What influences and inspires your current work? Could you share some movements, designers, or elements of Indian culture that have shaped your practice?
Brishti Biswas: A third-generation maker, my journey into the realm of design was shaped by my upbringing, surrounded by the artistry of my father’s sculpture workshop. My latent curiosity in research and experimentation and my father’s drive for the unconventional inspired me and propelled me towards creation. I find my sense of aesthetics and my inspiration for materiality deeply rooted in the influence of my father’s works, which continue to inspire me.
Courtesy – Brishti Biswas
I draw significant inspiration from Indian Post-modern architecture, particularly its strong geometry and elements of brutalism. Additionally, my understanding of the avant-garde German Bauhaus movement has profoundly influenced how I perceive and approach design. It has encouraged me to rethink conventions, reimagine possibilities, and consistently strive for the unconventional; also through community-based art projects.
Q: You are an architect turned Furniture Designer. What was that journey like?
Brishti Biswas: Very early on in my architecture years, I realized that I enjoy the act of “making” at a human scale. I have always admired architectural spaces and their interaction with the environment, both inside and outside. I believe that I was destined to experience the beauty of an architectural practice before I could completely find my calling in furniture design, which has further made me discover my passion for home accessory design. I to date, take immense inspiration from architectural volumes and design around it.
What binds my entire journey is my love for Indian craftsmanship. Pursuing my bachelor’s in architecture from Jaipur became the backdrop for my initiation into craft and design. All my projects, be it architectural or furniture design, have mostly revolved around working to promote Indian crafts.
My love for “hand-made” took me to the National Institute of Design in Ahmedabad to pursue my postgraduate degree in Furniture Design, in 2020. The learning went beyond just the study of furniture, its users or its environment. NID focuses on the practice of holistic learning. It brought a sensitization to diverse issues -social, cultural and economic – that revolve around humans with an emphasis on their relationship with resources and the environment, delving into materials, techniques, processes, aesthetics and design management. The place allowed me to do ample hands-on work and embed craft and identity in art. This brought me closer to my passion and it helped me gain a vision.
Q: Could you walk us through your creative process? How do you move from the initial concept to the final execution?
Brishti Biswas: It all begins with finding a purpose—whether it’s addressing specific problems that need tailored solutions or iterating on existing ones. I strive to preserve the essence of ‘hand-made,’ even in the ideation stage. Multiple hand-drawn sketches and rapid clay models form the foundation of most of my designs. These models prove invaluable when communicating ideas to artisans and makers; leading to grassroots art and activism, bridging the gap between concept and execution. Up until now, most of the works have been made jointly by artisans and myself, endeavouring to bring justice and respect to both the forms of “hand-work”.
All my works fall under the label Boota Collective art initiative (inception 2023), which is a gradually expanding collection of objects. Boota | ਬੂਟਾ (which means ‘plant’, in Punjabi) embraces a philosophy of “slow design”, which emphasizes the thoughtful creation of products that are made with care and intention. Much like nurturing a plant, each piece is meticulously crafted, often by hand, using ethically sourced materials.
Q: Your work often involves collaborations with artisans and other creatives. What draws you to these partnerships, and how do these collaborations enrich your design practice?
Brishti Biswas: I strongly believe that socially engaged art practices and collaboration of this kind are essential for growth, and working closely with artisans has been one of the most rewarding aspects of my journey. The warmth, trust, and shared passion they bring to the process create a bond that transcends mere work. Their skill and dedication not only enrich the designs but also make the entire experience deeply fulfilling and inspiring. Not only does artisan collaboration bring immense skill and depth to the designs, but it is also vital for instilling a sense of confidence and pride in the hearts of the artisans. It serves as a way to uplift their status and encourage them, making the process truly transformative for everyone involved. It fosters the exchange of ideas, encourages innovation, and opens up new perspectives that might not emerge in isolation.
Courtesy – Brishti Biswas
Q: Looking back at your portfolio, which project represents a significant turning point in your career, and among your recent works, what project are you most proud of and why?
Brishti Biswas: My architectural thesis provided an incredible opportunity to engage with Punja Dhurrie craftspersons from Nakodar, Punjab, and Wood Inlay craftspersons from Hoshiarpur, Punjab. This experience was both eye-opening and heartwarming, as it deepened my awareness of the declining state of Indian crafts and art for marginalized narratives. At the same time, these visits became a turning point in my journey as a designer. They not only fueled my desire to work at a smaller, more intimate scale but also inspired me to pursue formal education in furniture design. Through close interaction with the artisans, I envisioned a path of collaboration—working together to breathe life into objects, blending tradition with creativity.
My latest work, the Kamal Patta Side Table, created in collaboration with Raw Collaborative at the end of 2024, is a project I am deeply proud of. It marked my debut at this prestigious event and offered an incredible opportunity to showcase my work while engaging with some of the most celebrated professionals in the industry. The experience was both inspiring and enriching, solidifying my passion for creating meaningful designs.
Q: What unique challenges and opportunities have you encountered as an emerging designer in the Indian design industry, and how are you working to overcome these obstacles?
Brishti Biswas: The best opportunities often arise from addressing challenges deeply rooted in regional contexts, and craft and identity in art of India are abundant with such possibilities. With its myriad skilled indigenous communities, the country presents a unique chance for emerging designers to collaborate and help elevate traditional crafts. By adapting these works to better suit modern contexts, we can create greater value, enhance demand, and ensure the sustainability of these timeless skills.
One of the challenges in India is raising awareness about the significance of design. As a growing field, it is often misunderstood, with many people failing to recognize the effort, skill, and value that go into creating thoughtful and impactful designs.
One of the major challenges in craft community-oriented design is navigating the dilemma of preserving traditional crafts while respecting the personal choices of the younger generation. Many young artisans often choose alternative career paths due to the disparity between the effort required and the income generated from traditional crafts. As designers, we strive to uplift and celebrate these crafts, but we must also recognize the reality that we cannot impose our ideals or overly romanticize the craft. At the end of the day, they decide to make it, and our role is to create opportunities, provide support, and ensure that the craft remains accessible should they wish to return to it in the future.
One of the greatest challenges in the Indian design industry is the lack of consumer awareness about the true value of design, especially handmade works. Behind every handcrafted piece lies a legacy, embodied knowledge, history, and socially engaged art practices that are often overlooked. It’s not just a product; it’s a story—and that story needs more recognition. There’s also an urgent need for more dialogue and conversation starters within the industry. Many areas have become saturated with fleeting trends, and avant-garde design is noticeably scarce. Breaking away from conventional formats and encouraging experimental, boundary-pushing work is critical.
Courtesy – Brishti Bishwas
Another challenge is the integration of technology. While India has begun embracing innovation, the responsible use of technology in design is still evolving. Misusing or over-relying on it can dilute the soul of design.
The obsession with Western design, particularly Italian aesthetics, remains a barrier. While some Indian designers are embracing Swadeshi principles and celebrating indigenous crafts, a large segment of consumers still gravitates toward Western influences, overlooking art for marginalized narratives. This cultural mindset often hinders the broader acceptance of Indian design on its terms. Mass production, too, is disrupting thoughtful design while contributing significantly to environmental waste—an epidemic that needs immediate attention. Adding to this, casual plagiarism is becoming increasingly rampant, undermining the morale of designers who dare to experiment.
To overcome these challenges, I believe in fostering meaningful collaborations, advocating for ethical practices, and using my platform to highlight the value of handmade and sustainable design. Change won’t happen overnight, but persistent efforts will spark the much-needed shift in mindset.
Q: How do you approach sustainability and eco-friendly practices in your designs, particularly considering India’s traditional wisdom and contemporary environmental challenges?
Brishti Biswas: I have been learning Dhokra casting—a traditional metal casting process—from my father for about two years now. This ancient practice holds a special place in my journey, inspired by the work of my father, who masterfully incorporates this technique into his creations. He has been practising it for almost 40 years now. Dhokra casting is inherently sustainable due to its use of natural materials and traditional techniques that require minimal energy. The process itself involves melting metal (often brass or bronze) using a clay mould, which is then removed after the metal cools and solidifies. This traditional method and the subsequent community-based art projects rely on local, eco-friendly materials such as clay, beeswax, and natural metals, and the tools used are simple, reducing the carbon footprint associated with mass manufacturing processes. Additionally, Dhokra casting promotes sustainability by fostering a circular economy. The moulds and tools can be reused multiple times, and the artisans often repurpose scraps of metal from previous castings, further reducing waste.
Q: What’s your most exciting recent design or art discovery that’s influencing your current thinking?
Brishti Biswas: Recently, I’ve been inspired by designers working with biodegradable materials, which has made me more conscious of the environmental impact of my practice. I had a chance to interact with a few such young designers at the Raw Collaborative exhibition in 2024. The innovative materials offer an exciting new avenue for sustainable design, encouraging a deeper connection to the planet, its resources, and socially engaged art practices.
I’ve also been following Neri Oxman’s work for some time now, and her visionary approach to design, which blends technology, biology, and sustainability, continues to be a significant influence. Her exploration of organic materials and their integration into design has expanded my perspective on how design can both serve humanity and nurture the environment. This has sparked a new wave of inspiration in me, and I’m certain that I want to embrace this approach in my work someday in the future.
Q: How do you build visibility and reach out to potential clients? What platforms and strategies have worked best for you?
Brishti Biswas: Exhibitions have been an incredible platform for building visibility and connections. They provide opportunities to collaborate with other designers, interact with industry professionals, and showcase my work to a discerning audience.
Social media, particularly Instagram, has been a powerful tool for me. It allows me to share my design journey, showcase community-based art projects, and connect with a global audience in a direct and meaningful way. It’s a space where storytelling meets visibility, and when used thoughtfully, it can open doors to unexpected opportunities.
Q: From your experience, what are the crucial dos and don’ts for young designers trying to establish themselves in India? Are there professional forums or communities you recommend?
Brishti Biswas: As a young designer myself, I can say that patience, introspection, and passion are key. Everyone’s journey is unique, and there’s no fixed formula for success.
Dos:
● Take the time to find your true calling. Introspection is essential to discover your purpose as a designer.
● Stay authentic to your voice and vision rather than chasing trends.
● Collaborate with artisans and fellow designers to learn and grow collectively and engage in grassroots art and activism.
● Build a strong portfolio that reflects your identity and craftsmanship.
Don’ts:
● Don’t rush the process; good design takes time.
● Avoid compromising on your values or quality for the sake of trends or mass appeal.
● Don’t underestimate the power of communication. Share your story; people connect with the narrative behind the design.
India offers several vibrant design communities like the Association of Designers of India (ADI), Design Fabric, and India Design Forum (IDF) that connect professionals and promote dialogue across disciplines, establishing the craft and identity in art. Platforms like Raw Collaborative and Kyoorius Design Yatra foster collaboration and showcase creativity, while organizations like Dastkar and the Craft Revival Trust focus on preserving traditional crafts and linking designers with artisans.
Courtesy – Brishti Biswas
Globally, communities like World Design Organization (WDO), AIGA, Core77, and online platforms such as Behance and Dribbble provide opportunities for networking, learning, and visibility. These forums collectively inspire and support designers in their creative journeys.
Q: As you look ahead, what kind of projects or directions would you like to explore?
Brishti Biswas: I’ve long been fascinated by modular design and its ability to create dynamic, adaptable pieces. Over the past two years, I’ve had the privilege of collaborating with the Thathera community in Punjab, and I’m excited to continue this journey of socially engaged art practices. My immediate vision is to craft large-scale art pieces in brass, pushing the boundaries of traditional craftsmanship while integrating modular elements that allow for flexibility and innovation. Shortly, I’m eager to explore working extensively with glass. Ultimately, my long-term goal is to create at least one work in my life that leaves a monumental social impact—an enduring legacy of meaningful change.
Q: What wisdom would you share from your journey for aspiring designers looking to make their mark in India’s design landscape?
Brishti Biswas: Design is not a race; it’s a journey of self-discovery. Take your time, explore, and allow yourself the space to find your true calling, and that requires patience and introspection. Ponder upon your purpose—what drives you, what stories you want to tell, and how your work can contribute meaningfully to the world. Most importantly, trust the process and allow your passion and purpose to shape a path that is uniquely yours, where you can embed craft and identity in art. Make lots of mistakes, own them, and learn from them—they’re often your greatest teachers.
Image Courtesy – Brishti Biswas
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