As we enter 2026 amid global uncertainty, James Baird believes art offers comfort “not through escape but through recognition”. I ask of the role art plays: that of comfort, continuity, or challenge and the chairman of Irish linen manufacturer WFB Baird says “art holds all three roles often at once”. A sentiment he carries forward in his recently-launched Burgoyne Original Masters (BOM), a platform dedicated to creators across art, music, design, and more.
James (centre) at the book’s launch
| Photo Credit:
Special Arrangement
To commemorate the launch, the team has launched a coffee table book that brings to the fore voices of nine artistes: designer Ashita Singhal; storytellers Syed Sahil Agha and Shah Umair; visual artists Jayati Kaushik, Sachin Tekade, and Shivani Aggarwal; photographer Akash Das; yoga teacher Seema Sondhi; and Kathak dancer Shivani Varma.
Shivani Aggarwal, visual artist
Over the past few years I have been creating, enlarging, bending and twisting common everyday objects such as wire, thread, and wood. Objects hold memory, time, function and as symbols of functionality, from personal, political or societal standpoints, they remain constantly challenged, twisted, distorted, broken or perverted for convenience and greed. Enlarged, distorted and compromised objects have their own stories to tell; they speak of an altering intervention, silent violence, helplessness and surrender. I attempt to unravel these feelings and thoughts in my work.
On BOM: Such projects are important in the contemporary art landscape as they value originality, innovation and perseverance. BOM Burgoyne brings forth voices that echo a similar ethos and complete the picture aligning people from different creative fields who voice their authenticity.
James says that art reminds societies that disruption is not a new concept and that creativity has always endured alongside it. “Every object admired from the past was made without certainty of outcome yet continues to carry meaning. Art also provides continuity, and preserves ways of making, thinking and seeing that move quietly across generations. Craft traditions and artistic disciplines adapt to changing worlds while holding on to what matters. This continuity offers reassurance that culture does not disappear when circumstances shift,” says the 69-year-old.
The book’s cover
| Photo Credit:
Special Arrangement
Having said that, James says art presents a “gentle” challenge. “It asks for attention, patience and care in a world that often rewards speed. That insistence on depth becomes especially important during uncertain moments. Burgoyne Original Masters exists in this space where comfort, continuity and challenge meet through craft story and dedication,” says James, adding that content for the book’s second edition will start dropping from February 2026.
Shah Umair, storyteller
Design plays a crucial role in heritage storytelling. When you look at design elements from the previous century or earlier, there’s a certain sanctity to them. Every motif carries meaning. There’s value, natural inspiration, and often a sense of the divine embedded in it. For me, heritage storytelling begins with observing these details: a wall motif, a mihrab, a temple sanctum, a palace fresco. Each of these becomes a point of entry.
On BOM: Such initiatives elevate an artist’s goodwill and offer real leverage. I’ve always believed that when you associate with a brand that carries a legacy of over a 100 years, that legacy reflects on you as well.
He explains that BOM also extends to the brand’s digital platforms by way of films, archives and collaborations with festivals and cultural institutions. “BOM’s debut partnership was at India Art Fair 2025, and we also found resonance with Jahan‑e‑Khusrau’s 25th edition held in early 2025. We also partnered with Delhi Contemporary Art Week last year and presented Unwoven, a linen installation by artist Juhikadevi Bhanjdeo,” he says.
Umair Shah
| Photo Credit:
Special Arrangement
James sees BOM evolving into a storytelling and archiving platform “for those who make with their hands, think with their hearts and shape the world with originality”. He has also launched the 2026 BOM Artist Grant, named Masters in Making that supports “emerging creators, particularly those working with heritage textiles and material memory, by offering time, resources and visibility without demanding compromise”.
Shivani Aggarwal, visual artist
| Photo Credit:
Special Arrangement
At BOM, James adds, the spotlight is on creators. “By partnering with leading cultural platforms and producing films, workshops, and digital archives, we foster meaningful artistic dialogue. We also support emerging and established talent.” As for the book, he says the idea came about to create an asset that could be “prominently displayed, sparking conversation and awe, rather than just being read”.
Sachin Tekade, visual artist
In my work, I explore a range of visible elements such as architecture, texture, light, shadow, and pattern. These visual components operate not only as formal devices, but also as metaphors reflecting both geographic terrains and inner psychological landscapes. At a deeper level, the work is rooted in the idea of searching. I believe everyone, in some form, is searching for something like clarity, purpose, belonging, or meaning. For artists in particular, this search often becomes inseparable from their practice. Creating art becomes a way of making sense of the world and of one’s place within it.
On BOM: It reaffirms the importance of authentic human craftsmanship at a time when creativity is increasingly shaped by AI, automation, and borrowed conceptual trends. India has a deep, living tradition of hand-made art, yet many artists who dedicate their lives to original, tactile creation remain underrepresented in mainstream cultural narratives. By celebrating artists who continue to work with their hands, this initiative restores balance to how artistic value is defined. It highlights that mastery, discipline, and material intelligence are not outdated ideals, but essential foundations of enduring art.
Over time, does Burgoyne envision creating dialogues between old masters and contemporary artists? James says this dialogue already exists within “the act of making”. “When contemporary artists work with inherited techniques, materials or forms, they are continuing a conversation rather than starting a new one. We aim to hold space for this continuity. Placing established practices alongside emerging voices allows experience and experimentation to inform one another. One brings memory and discipline and the other brings curiosity and renewal. The intention is to recognise the masters as living influences whose values continue through material process and attitude,” concludes James.
Published – February 03, 2026 12:40 pm IST
