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            <url>
                        <loc>https://textile.yuktiagarwal.com/homepage</loc>
            
            
            <lastmod>2026-04-01T18:51:57+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-flag</loc>
            
            
            <lastmod>2026-04-01T18:51:58+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q2447691146067589013906882074706/Untitled-Flag---Yukti-V.-Agarwal_-copy.png</image:loc>
                                            <image:caption>&lt;b&gt;Untitled (Flag), 2025&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;
42 x 24” &lt;br /&gt;
Silk ‘madras’ cloth, sequin factory waste&lt;br /&gt;&lt;br /&gt;
Madras cloth is closely associated with Ivy League dress, though its histories of production are often obscured. This work is presented in dialogue with Ralph Lauren’s flag sweater and all-plaid silhouettes—icons of an American visual language.&lt;br /&gt;
&lt;br /&gt;
The work reflects on the artist’s time at Ralph Lauren, where she contributed to the design of these sweaters. It considers how textiles such as madras—once woven in India for colonial markets—continue to be extracted, translated, and recast, raising questions of labour, authorship, and appropriation.&lt;br /&gt;


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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-ten-days</loc>
            
            
            <lastmod>2026-04-01T18:51:59+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q2251772631171935650765521422166/horizontal_dark.svg</image:loc>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V2447741079374654697555055908946/TEN-DAYS-GIVE-OR-TAKE--YUKTI-V-AGARWAL---ETHAN-HOSKINS---FOR-RISD-MUSEUM--dragged.png</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;b&gt;
ten days (give or take) v.1 / v.2, 2025&lt;br /&gt;
&lt;/b&gt;&lt;br /&gt;54 x 72”&lt;br /&gt;Jacquard woven, cotton, Italian bouclé, rayon, elastic-nylon, bambu&lt;br /&gt;
&lt;br /&gt;A double portrait of two figures shaped by race, colour, and nationality. The work reflects on proximity and distance, tracing the tensions that define an unlikely union.&lt;br /&gt;
&lt;br /&gt;Co-created with painter Ethan Hoskins</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P2465098214471385562570211760210/ten-days-give-or-take-v2---Yukti-V.-Agarwal-.png</image:loc>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-pixel</loc>
            
            
            <lastmod>2026-04-01T18:51:58+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/I2448322408370293125583403784274/Untitled---Yukti-V.-Agarwal-and-Anant-Saraf---2025.png</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;b&gt;Untitled, 2025&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;54 x 152”&lt;br /&gt;Jacquard woven, cotton, rayon&lt;br /&gt;
&lt;br /&gt;Often, the sense of safety is rooted in the memory of physical closeness — an embrace, the familiarity of shared space, the experience of being held. At a distance, however, these recollections become increasingly indistinct, taking on a blurred and fragmented quality.&lt;br /&gt;
&lt;br /&gt;
Using custom software, both archival and original photographs were pixelated, with time functioning as a metric to determine the spatial intervals between pixels. These nearly obliterated images were subsequently translated onto a Jacquard loom, further fragmenting their already reduced forms. The Jacquard loom, historically regarded as one of the earliest computational devices, operates as a precursor to binary systems. In this translation, the textile becomes a site of distortion, mirroring the ways in which memory itself is altered over time and distance.&lt;br /&gt;
&lt;br /&gt;Co-created with photographer Anant Saraf&lt;br /&gt;
&lt;br /&gt;
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-knit</loc>
            
            
            <lastmod>2026-04-01T18:51:59+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2465332188822699077938259990610/Kipper-Yukti-Design_The-Knit-Wiggle.png</image:loc>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/K2465332188656678381274874026066/Kipper-Yukti-Design_The-Knit-Wiggle2.png</image:loc>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2466636871063611034889280067666/Knit-Series-Front---Yukti-V.-Agarwal.png</image:loc>
                                            <image:caption>&lt;br /&gt;&lt;br /&gt;
&lt;b&gt;The Knit Wiggle, et al., 2024&lt;br /&gt;
&lt;/b&gt;
&lt;br /&gt;
generally larger than life&lt;br /&gt;Stoll knitted, nylon, merino wool&lt;br /&gt;&lt;br /&gt;The Knit Wiggle is a modular inflatable that turns a simple bench into architecture. In its resting state, it works as a cushioned seat—warm, soft, inviting. Within seconds, it expands into a dividing wall, creating private and intimate spaces out of thin air. As it inflates, the knitted upholstery reveals a hidden landscape—textures meant to be noticed, inviting moments of pause. Multiple walls can connect and nestle together, forming flexible configurations that adapt to their environment. &lt;br /&gt;&lt;br /&gt;
Alongside it are The Knit Curve, a soft spatial divider, and The Knit Morph, a dynamic sculptural form. Together, they reimagine interiors as adaptable, modular, and always in motion.&lt;br /&gt;&lt;br /&gt;
Knit Wiggle was co-created with Kipper Reinsmith, Knit Morph with Dway Lunkad


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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Z2466636871045164290815570516050/Knit-Series-Detail---Yukti-V.-Agarwal.jpg</image:loc>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-kashmeer</loc>
            
            
            <lastmod>2026-04-01T18:51:59+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W2448782306600211740218112645202/Kashmeer-No-More---Yukti-V.-Agarwal-.png</image:loc>
                                            <image:caption>&lt;b&gt;Kashmeer No More, 2025&lt;br /&gt;
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&lt;/b&gt;36 x 48”&lt;br /&gt;Manual machine knit, Loro Piana cashmeres&lt;br /&gt;
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&lt;br /&gt;
Kashmir was once whole. Then it was broken. Now it is being pieced back together—though perhaps it never can be.&lt;br /&gt;
&lt;br /&gt;
The work begins with a stock image of the Kashmir Valley, translated into knit through punch cards. The yarn—pashm from Leh, spun and branded in Italy—carries its own layered geographies. Then comes erasure. Washed wool collapses, losing form and integrity. The fabric disfigures. Reconstruction follows. Darning stitches—some hidden, some exposed—bind the fragments into uneasy unity.

&lt;br /&gt;

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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/project-rue</loc>
            
            
            <lastmod>2026-04-01T18:51:59+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2447753927181413898857274972242/2.-Une-Rue-De-Pondicherri---Yukti-V.-Agarwal_-copy.png</image:loc>
                                            <image:caption>&lt;b&gt;Une Rue De Pondicherry, 2023&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;36 x 48”&lt;br /&gt;Hand woven, various yarns&lt;br /&gt;&lt;br /&gt;In Pondicherry, along the flower-strewn paths of the French town, it’s impossible to ignore the divide between White Town and Brown Town. One was planned, polished, and perfumed for the colonists; the other, left to fester in neglect. And yet, the facade of charm endures. A triumph of colonial order.</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2448344276837818555667168139346/Une-Rue-De-Pondicherri---Yukti-V.-Agarwal_.png</image:loc>
                                            <image:caption>&lt;b&gt;Une Rue De Pondicherry, 2023&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;36 x 48”&lt;br /&gt;Hand woven, various yarns&lt;br /&gt;&lt;br /&gt;In Pondicherry, along the flower-strewn paths of the French town, it’s impossible to ignore the divide between White Town and Brown Town. One was planned, polished, and perfumed for the colonists; the other, left to fester in neglect. And yet, the facade of charm endures. A triumph of colonial order.</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/profile</loc>
            
            
            <lastmod>2026-04-01T18:51:59+00:00</lastmod>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y2447726755533221694309354739794/EDITED_TEXT_YUKTI-V_AGARWAL_1550441-3.jpg</image:loc>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2868482615830208953295187686637/Yukti-V.-Agarwal-2-.png</image:loc>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/bott-nav-1</loc>
            
            
            <lastmod>2026-04-01T18:51:58+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/mobile</loc>
            
            
            <lastmod>2026-04-01T18:51:58+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://textile.yuktiagarwal.com/top-nav-1</loc>
            
            
            <lastmod>2026-04-01T18:51:58+00:00</lastmod>
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