ABSTRACT
Sukanya Garg's own work hesitates when faced with the prospect of immersion into ‘pure white’. Coterminous with Benjamin is colour's formative role in India's fight for self industry Swadeshi. The nationalist Swadeshi driven aesthetic experimented variously with British watercolours, morotai, imported German inks and with pigments ground from earth in local districts such as Bankura, West Bengal. In a series of lectures subsequently published as ‘Politics of the Governed’, Partha Chatterjee offers glimmers of the ‘popular politics in the rest of the world’. Sarita Sachdev found white to be a sort of interim, a means of compromise in her search for a medium and a style which at the time was offered by bazaar bought paper: ‘its colour, textures and the myriad of possibilities to shape it’. Integral to his seminal notion of chromophobia, artist David Batchelor rejected white in favour of a kind of Wittgenstein play with the luminous and the grey.
