Parcham Notebook 2017

تیرے ماتھے پہ یہ آنچل بہت ہی خوب ہے لیکن
تو اس آنچل سے اک پرچم بنا لیتی تو اچھا تھا

तेरे माथे पे ये आंचल बहुत ही खूब है
तू इस आँचल से इक परचम बना लेती तो अच्छा 

“It is very well to veil yourself,

But had you made your veil into a flag

It would have served you better…”

. These lines from Urdu poet Majaaz Lakhnavi’s ‘Naujawaaan Khatoon Se’ (To the Modern Woman) are a perennial source of strength to those who seek it. Among the many his words have inspired are the founders of ‘Parcham’ (banner/flag), a Mumbai-based NGO named after the symbol of freedom that Majaaz so eloquently speaks of.  Watch this short film ‘Under the open Sky’ by Tata Institute of Social Sciences to know more:

You can get in touch with Parcham at

It was an honour to illustrate the annual Parcham Notebook for 2017. This year, the Notebook celebrates the courage of women who have challenged the unfairness of patriarchal laws and religious customs, often at great personal and social risk.


‘Hindu Orthodox Code’

Married at the age of 11, Rukmabai was taken to court by her husband in 1884 for refusing to live with him. Finally, she had to pay her husband to dissolve the marriage. The following year, the British Government raised the age of consent for marriage from 10 years to 12 years old. However, there was still no measure taken against marital rape. Rukmabai went on to become India’s first practicing woman doctor.

Shah Bano

‘Muslim Personal Law’

A 62-year old mother of five, Shah Bano was divorced by her husband in 1978. The Supremem Court granted her right to alimony, causing an uproar among conservative Muslim factions. However, the court upheld Muslim women’s right to maintenance.

Mary Roy

‘Travancore Successions Act of 1916’

In 1986, Mary Roy succeeded in changing the law that denied Syrian Christian women a share of their familial property. Now, the property can be inherited without gender-discrimination instead of all the property being inherited by the son with only a small portion ‘gifted’ to the daughter as ‘Streedhanam’.

Gulrookh Gupta

Right to Remain Parsi

In 2009, Gulrookh Gupta challenged the diktat of the Valsad Parsi Anjuman Trust which prevented Parsi women married to non-Parsis from attending Parsi releigious functions, including the funeral rites of their own parents and entering the Parsi Agiary, or house of worship. Since there is no such rule for men, Gupta challenged the decision as discriminatory. The case is still ongoing.

Proceeds from the notebook will go towards developing the football programme for girls. A football tournaments was held and sports gear was bought for the underprivileged girls with the help of funds from last years notebook.


First Semester Works II

We began our charcoal module by taking rubbings of the textures around us on newsprint paper.

(11) Collage on newsprint paper, A1

Some quick charcoal sketches…

(12, 13, 14, 15, 16) Charcoal on newsprint, A3 each

(17) Charcoal on newsprint, A3

(18) Charcoal on newsprint, A3
Meanwhile, experimentation with the charcoal texture rubbings continued. Here, I have developed the pattern suggested by the texture of the cracked floor into the roots and branches of a tree.

(19, 20) Charcoal on newsprint, A3


(21, 22) Charcoal on cartridge paper, A3

(23, 24, 25) Charcoal on cartridge paper, A3 each

(26)Charcoal and sketch pen on newsprint, collage, A3 (27) Charcoal on newsprint, collage, A3

(28) Sketch pen and water on newsprint, A1

In one of the experiments, I worked on a sheet until it was reduced to shreds, attacking it with pen, paint, Fevicol, ‘treating’ it by various processes, stretching, stabbing and carefully tearing it as if to test its limits. Finally I preserved the remains of the paper by sticking it on a full sheet.


(29) Mixed media on newsprint, A1





First Year Works I

(1) Watercolours on handmade paper, A2

Shape Study in Poster Paints

 Poster paint on cartridge sheet, A2

(5,67) Poster paint on cartridge paper, A2

 I traced out the same ‘Aloe Vera’ image 4-6 times as an experiment, changing the colours  until I felt they ‘go’ with each other.  I chose four sheets that acted as mirror images, placing them together to create a sense of  drama.

 I wanted to express the essence of something bursting forth with life and vitality. Again, I had to change some of the colours to make them now work as a single image rather than fragments. Here, the bright red was useful as it seems to ‘hold’ the shapes the place and unify the image (refer Red Studio by Henri Matisse).

(8) Poster paint on cartridge paper, A0 (A2 x 4, each section is an A2 sheet)

(9, 10) Poster paint on cartridge paper, A2

These images remind me of bits of sky in a wound. Or perhaps a concrete surface with something raw coming out… meat?