National Institute of Design Archives

Colette Copeland

Ms. Colette Copeland’s artistic and pedagogical practice is critically engaged with a symbiotic, diverse range of aesthetic and cultural values which emphasize interdisciplinary and collaborative work. As an established visual artist, her work has been featured in 28 solo exhibitions and 155 group exhibitions/festivals spanning 35 countries over the past 30 years. Her work as a visual artist and cultural critic/writer examines issues surrounding gender, identity, death, and contemporary culture. She sources personal narratives, historical texts, and popular media, utilizing video, photography, printmaking, performance, dance, text, audio, sculptural installation, and community activism to question societal roles, gendered violence, and the pervasive influence of media and technology on communal enculturation. She is interested in artists, including the conceptual kind, whose work deviates from traditional disciplines and training and who use non-traditional materials and processes in their work, such as in sculptural installation, performance, video, relational aesthetics, and social practice/collaborative activism.

Ms. Copeland received her BFA from Pratt Institute in New York and her MFA from Syracuse University. She has taught at six institutions over the past 20 years, each with diverse, global student populations. At the University of Pennsylvania, she developed and taught a new interdisciplinary visual studies major that incorporated visual arts, critical theory, humanities, and social sciences. Currently at the University of Texas at Dallas, she teaches an interdisciplinary “Fluxus-inspired” contemporary practices studio course, digital photography, and performance art.

Since 2001, Ms. Copeland has been writing for a variety of art publications and institutions like The Photo Review, Fotophile, Afterimage, Exposure, Ceramics: Art and Perception, Arteidolia, Glasstire, and Eutopia. She has 116 published articles to her credit. Most recently, she published two catalog essays – “Avery, A Family Legacy” and “Re-emergence: Women AbEx and Color Field Artists”. She is a long-time member of AICA-International Association of Art Critics.

Ms. Copeland’s Fulbright-Nehru project is focusing on qualitative research about underrepresented female visual artists from India, whose work explores themes of boundaries – physical, emotional, real, imagined, geographical, virtual, convergent, divergent, and transformative – using conceptual and contemporary multimedia art practices.

Shira Singer

Ms. Shira Singer is a textile artist, art educator, and art therapist living in Bar Harbor, Maine. She has been applying color and pattern to cloth for several decades, while also focusing on the historical, social, and cultural contexts of different textile traditions and mediums. For the past six years, she has been using locally grown or foraged vegetation and plant materials to make fabric dyes.

Ms. Singer has been a teaching artist in a wide variety of settings, including schools, community arts programs for children and adults, senior colleges, and art festivals. She taught elementary school art for 15 years in multi-age classrooms on islands off the coast of Maine.

Ms. Singer has also had the privilege of leading art education workshops and making art with people of all ages: in Bengaluru, India, with the Parikrma Humanity Foundation; in Ambon, Indonesia, with the Heka Leka Education Foundation; and in Muscat, Oman, with the Sidab Women’s Sewing Center. Her textile pieces have been exhibited in galleries and shows throughout the U.S. and her recent work appeared in the Fall 2023 journal of the Surface Design Association, International Exhibition in Print.

Moreover, as an art therapist, she has over 35 years of experience in facilitating therapeutic art expression in psychiatric hospitals, counseling centers, and schools, as well as through private practice. Ms. Singer received her BS in elementary education from Northwestern University and her MA in art therapy from The George Washington University.

Ms. Singer’s Fulbright-Nehru project is focusing on understanding how natural dyeing traditions in India are evolving in response to rapid environmental change and societal impacts in the post-COVID scenario. As part of her project, she is creating a body of expressive artwork on cloth informed by conversations, research, and training with individuals who are engaged in preserving traditional practices of natural dyeing and design.

Urmila Mohan

Dr. Urmila Mohan is a public anthropologist of material culture and studies how sociocultural values are circulated through cloth, bodily practices, and belief. She earned a PhD in anthropology from University College London, an MFA in studio arts from Pennsylvania State University, a BA (hons) in anthropology from Victoria University of Wellington, and a BFA in communication design from the National Institute of Design, Ahmedabad.

Dr. Mohan’s research includes an ethnography of devotees who make garments for their deities and also wear specific clothing; this was published as Clothing as Devotion in Contemporary Hinduism. She also undertook a curatorial study of Balinese ritual textiles at the American Museum of Natural History, resulting in an exhibition and catalogue, Fabricating Power with Balinese Textiles. Besides, she is the author of the monograph, Masking in Pandemic U.S..

Dr. Mohan has written extensively on material practices and theorizes them in her edited volume, The Efficacy of Intimacy and Belief in Worldmaking Practices. Earlier, she had co-edited The Material Subject: Rethinking Bodies and Objects in Motion and a special issue of the Journal of Material Culture titled “The Bodily and Material Cultures of Religious Subjectivation”.

As part of her commitment to interdisciplinarity, Dr. Mohan founded the digital, open-access publication, The Jugaad Project. She is also a member of several global working groups, including the Matière à Penser network for embodiment studies.

Dr. Mohan’s Fulbright-Nehru project is an ethnographic study of weavers of silk ikat (resist-dyed) textiles in Gujarat, India. She is contextualizing ikat handloom innovation as a process of socio-technical ‘enchantment’ that engages weavers, traders, and consumers. She is also connecting woven cloths’ agency with changing socioeconomic and spiritual practices via weavers’ technical, bodily, and material adaptations. Her research adds to studies of how artisanal communities and heritage are shaped in India; it is doing so by analyzing shifts in practices/meanings due to migration, the influence of kinship on technology adoption and craft expansion, changing roles of women in weaving families, and the effects of the geographical indications patenting system.