ISSUE: 143
Creating miniature worlds allows Ruchika Nambiar to continue to play childlike games of make-believe
What inspires you?
RN: I find myself most inspired by complexity and nuance in storytelling. Whether it’s an episode of BoJack Horseman or a graphic novel by Chris Ware or a short story like Good Old Neon by David Foster Wallace, it all boils down to the same thing. I’m always left in awe when someone is able to create a piece of entertainment that can convey a complex experience in all its glorious detail, without pandering, without simplifying, without generalizing.
Tell us more about working with miniatures.
RN: I’ve always liked experimenting with non-linear methods of storytelling, and when I discovered miniatures, I realized their potential for telling nuanced, three-dimensional stories. I work with other visual
media too like books and illustration, but miniatures have a unique advantage – they can instantly immerse your audience into the world you create, simply because of their scale. For me, creating miniature worlds feels like playing god in an alternate universe. In fact, I think I entered the creative industry just so that I could continue playing childlike games of make-believe, and it has never disappointed me till date.
How do you think social media influences the way you work and communicate with
your audience?
RN: I have quite a love-hate relationship with social media. I tire of it very easily and end up not posting anything for days. Consistency is the one thing I can never manage to maintain. Ironic, considering ‘The Dollhouse Project’ hinges entirely on social media. Some of the best moments on ‘The Dollhouse Project’
have come about on Instagram. It has really provided a great platform for people to get involved and engaged in the story. I ran a miniature book drive and have collaborated with so many fun creators, and Little R has made so many friends online. So, it really has become a source of fuel for me to keep the project going.
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