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Vehicle body art
by Sraboni Bhaduri| New Delhi, India
Wednesday, 25 April 2012
tags: art & design, asia, consumer culture, culture, making sense, socioeconomics
Vehicles on Indian roads talk. Almost every vehicle is embellished either with images on the body or with accessories within. There is general disapproval for the plain vanilla factory made look. It is a rather inviting tabula rasa on which story of one’s identity must be etched. After all, buying a car is a milestone and historically it does mark the class transition from belonging to the plebian crowds who access public transport to becoming somebody who can afford their own private means. The nature of the images and the embellishment do tell you many stories. Stories about the life journey of the owner; how they got there and what they feel about it. How space is shared or rather grabbed on the road can be read as a mini snapshot of the class dynamics of this society.
I will pick up two sets of vehicles and two popular images and embellishments typical to them. Privately owned cabs which are leased out to the driver and the mid range sedan which are favored by those who have recently risen above the harried middle class.
Privately owned cabs for all practical purposes belong to the driver who works them hard so that he can have money left over after paying the daily lease sum and the fuel & maintenance costs. While on the face of it he can pull off a certain amount of status & posturing within his community about practically being the owner, the joy runs a bit shallow. He finds himself working harder & harder to beat the terms of the lease and save himself a respectable income. This pseudo ownership is nothing but a cuckold. The vehicle being experienced as a cheating girlfriend rings true at many levels. In a society where ‘ownership’ of a heavily bedecked woman lends status gives further credence to this parallel. Each cab is lovingly decorated with colorful tinselly frills and the stickers with sad romantic couplets complete the story of the driver being the jilted lover – all because he spends such long hours on the road. A pair of heavily made up blue eyes painted at the rear of the vehicle is significant at many levels. It is blue signifying the much desired white woman fantasy complete with all its loose morality associations. It is placed at the rear where it is looking on at the vehicle behind – at the ‘other’. The eyes seem to guard the rear alluding somewhere to the vulnerability experienced on the road. Is it the vulnerability of the pretender?
In contrast the theme of embellishment of the sedan alludes to the sense of snug security of those who have just arrived. The car is a protected cocoon, sealed off with its rolled up windows & tinted glasses warding off unwanted eyes looking in. Comforting softness of this world is further accentuated by velvet cushions and soft toys placed on the parcel tray, looking out at the world through the rear windscreen as though mocking the sweat, dust and grime of the road. It mimics the untouched innocence and hyperbolic snugness of the nursery.
When these worlds come together, predictably there is mayhem which is known as Indian road traffic; also known as the most dangerous sport in the world! [Apparently it is drawing visitors from round the world as an extreme sport.] When the soft, pink cushioned world of the sedan mocks the violated fantasy of class transition, testosterone is bound to flow. The rash and aggressive driving of the overworked cabs in turn mocks the fragility of the cushion & soft toy brigade. And the troubled co existence of the classes and masses that have been denied transition continues.
© Sraboni Bhaduri 2012