When architects use tiles, especially ‘ethnic’ ones such as these Jaipur blue pottery hand-painted tiles, they usually create borders and edgings around plain tiles to create impact from the repetition of their graphic patterns. Many tiles together make sense. One single tile remains insignifi cant and unsung. This work attempts to celebrate that lonely and forlorn entity giving it a pedestal, a platform, a voice. The fabrics are carefully selected, overlaid onto a set of spiralling origami patterns, emergent from the corners of the tiles, spreading in all directions. The squares throw out triangles, trapeziums and rhombuses in their wake. The fabrics themselves have repeating patterns within them echoing the eff ect of a multitude of tiles when placed together. This is therefore also a dialogue between one and many. The tiles are hard and resilient, having passed through the fi re of life. The textiles are soft and pliant, having passed through the ups and downs / warp and weft of the loom. The tiles refl ect light in their glossy fi nishes, the fabrics absorb the light and caress shadows within their folds. The tiles are square, the textile roundels seem to be circles at fi rst glance, but if you see carefully they are like squares wanting to become circles. Yes, look again! They are imperfect. Their voice is a desire for perfection, to break their current moulds, to circle the square, to fl ow in the opposite direction of squaring the circle. This is also my tribute to Syed Haider Raza and Kapila Vatsyayan, two giants of erudition and intellect, their deeply refl ective writings and paintings on the square and the circle in the ancient Indian tradition. Both of them inform my work in ways I cannot express in words. These tiles and these textiles are celebrated hand-made crafts of India, replete with message and meaning. How wonderful it would be if art and craft made a tighter embrace and did a dance together! Ultimately, this work is about possibilities and connections.