Jenny Pinto looks a bit upset, settling in a cafe adjacent to the Bhinbhinahat courtyard of the meeting. The designer openly said, “We did not expect such a huge success.” “I am overwhelmed by this.”
A part of the cause can be a site. In the late 19th century, a beautifully prepared and renovated place dating – in its last avatar, it was a school – exhibition hall, auditorium and courtyard work separately in the courtyard, when the assembly hosts a major show, such Of green colour currently underway. But it is more likely that most of the credit is due to Pinto itself: back in the 1990s, the city took its bright mind and innovative ideas under its wing, such as it will give technology to the founders after a decade, and gave its life a new direction, which makes him familiar with handmade paper arts. And as the technical field will accept, Bangalore is the owner, it never lets go.
At the turn of the century, Pinto was probably the only one in India. Today, his team of 70 has kept together Of green colourA multidimensional construction of “dialogue, search and design”, whose main attraction is undoubtedly its paper art light installation. The 52-Tukra exhibition is as miraculous and real as it is touch and practical.
Real yet natural
Bathing in the warm glow and deep shade of the lights is – floor lamps are a star anis plant or an Illwara flower shaped, pendant lamps are the forest falling flame or still a cloud -inspired lamps, table lamps, table lamps, which look like things collected from the sea floor – industrial garbage about their parents.
Most designs come from Prerna Pinto’s book Magical everything “My product design has always been abstract and biological,” Pinto says, “and it was also brief for this exhibition. About 20% of the designs are new – Gulmohars, coral trees, clouds – while the rest have been shown elsewhere, although there was never before in Bengaluru.”
Jenny Pinto
Consider the huge Victoria Water Lily over visitors in a room away from the main exhibition hall. Soft uplift where waste touches the origin of the copper wire stem flower, prepared with banana fiber paper, it is a quiet transport work, which takes the observer to the river depth for a rare look under the leaf. Paper, carefully increased to a large uneven circular shape, is as organic as it provokes the plant. Or take suspended clouds, an attractive balance of opaque paper and a nated transluece, which manages to catch a lazy summer sky. The creases with a water lily are away to lubricate here, mixed with a relaxed woven version of the same material.
Early days
It is no coincidence that the work of Pinto imitates the natural world, using waste materials to give some beautiful and precious: its complete ovuo, it can be said, both is a reaction and a reaction, which he saw – and was accepted – as part of the advertising industry in Mumbai around generosity. Almost overnight, she says, she saw that garbage was built in the city. And then, around the same time, she became a mother and “suddenly, problems became personal”.
As part of his response, Pinto shut down his business and directed advertising films, pulled his roots in Mumbai and still moved to Bangalore and perhaps, most decisively, J. Krishnamurti-installed Valley admitted his daughter to the school. The school offered her a kiln and a studio to work-Pinto Pinto had a creative interest at this point-until a day, she wandered in a paper making workshop, and immediately fell in love.
Starting with a recycling of waste paper and then working with a species of banana Abka, in a three -month tenure with American papermaker Helen Hebert, Pinto returned to India to start a difficult process of establishing suppliers for his art. “Only a few banana fibers were used in rope-making, etc., then, in the rest of it, it was the country,” she remembers. “Today [demand for banana fibre has shot up so much]It is an industry. ,
Showing for responsible creation
For the last two decades, Pinto has used all kinds of aggressive and renewable plants for its work, always designed to generate waste to source, make and produce. In addition to banana fiber, which she is probably best known, she also works with cork, impure cement (made of stone mine waste), lantana camera, water hycinth (both aggressive species), and banana bark yarn.
While Pinto always did his work for the market, there was a turn in 2013, when Shetty Shetty of The Purple Turtles in Bangalore, his lead retailer offered him a partnership. Together, they launched Orza, a permanent light brand. The enterprise brought the scale for Pinto’s work, as the number from about eight employees to 70-odd, five designers today.
Today, for all his success, however, Pinto believes that Indian art has barely recognized the ability of waste-birth paper for its materiality. This will be her next limit, she promises, in schools as well as designs for students, pursuing sphere and ecology. She is also planning to bring a recurring exhibition of international artists for India in 2027 – Paper Bienle -. The time has come, she thinks that to turn the page responsible for the creation.
Shades of Green: A week of a week, stories of dialogue and material are in the assembly, Kamaraj Road, Bengaluru till August 13.
The author and editor are located in Bangalore.
Published – August 12, 2025 07:00 PM IST
