Heritage Series
From graffiti stencils to intricate paper sculptures, Parth Kothekar has carved out a unique path in the world of paper art. A self-taught artist with an unyielding passion for the craft, his journey from humble beginnings in Ahmedabad to creating mesmerizing, almost sculptural works has been shaped by a blend of personal determination.
We talk to to him about his artistic evolution, the technical mastery behind his intricate pieces, and how their cultural background subtly influences their work.
When did you first realise your knack or interest in paper art?
It started in 2012 when I used to make graffiti stencils. While experimenting, I realized that if I reversed the stencil design, it became a papercut. Until then, I wasn’t aware of paper art, and I was impressed by my own work, which motivated me to practice it daily.
In terms of your artistic journey, how has your background in Ahmedabad influenced your style or approach to paper art? Do you see any connection between your cultural background and your work?
Throughout my journey, I have worked in a 10 x 10 room. As a self-taught artist, my challenge has been to push myself daily so that my background and city do not affect my process. Rather than cultural influences, I would say that my family has had the greatest influence on me becoming the artist I am today. It has been the most supportive environment.
Tree-less existence Series (Where construction invades the privacy of nature)
The process of cutting paper seems incredibly precise and labor-intensive. Could you walk us through your technique and how did you develop the skills to achieve such intricate details from a single sheet of paper?
I could write an entire book in response to this question, as the development of skill only happens with time and countless experiences, both internal and external. It is a meditative process because each artwork takes at least 20 days to complete. The technical process begins with me sketching the design on paper. Then, I print the design onto 120gsm paper, which I cut using a surgical knife (the knife itself is also made by me). Once the cutting is complete, I flip the paper to hide the pencil marks.
Tree-less existence Series (Where construction invades the privacy of nature)
You recently also did an exhibition at Art & Charlie inspired from Greek mythology, tell us about how myths influence your art?
Mythology influences me because it shows a world that is very different than ours. It gives me a sense into what could be. My recent exhibition Drifting in an Elysian Haze was about a world that could be if we, humans, continue living the way we do now. It is not an ideal world but it is a possible outcome.
Mythology influences me because it shows a world that is very different than ours. It gives me a sense into what could be. My recent exhibition Drifting in an Elysian Haze was about a world that could be if we, humans, continue living the way we do now. It is not an ideal world but it is a possible outcome.
Sculpture
Tree-less existence Series (Where birds live under the ground)
Your works have a mesmerizing, almost 3D quality to them. How do you manipulate the paper to create this illusion of depth and volume?
Years of working with paper has evolved and changed my perception of paper. Initially, I started by cutting a single sheet of paper. Then, I came up with the cut-and-fold technique, where I cut the paper in half and fold it backward at different angles, creating an illusion effect. With this style, I also began making sculptures. In my latest exploration, I started creating paper sculptures by partially cutting the paper and then shaping it outward. It looks like clay and appears sturdy, but it’s not.
Sculpture (left) | Tree-less existence Series (Where birds live under the ground) (right)
Words Paridhi Badgotri
Date 21.01.2025