A public art installation was produced at Art Ichoul, Madhya Pradesh, Opened in February 2024
Overshoot
02 December 2023 to 06 January 2024 Gallery Sumukha Bengaluru
‘Remnants’ Repurposed wood sourced from the scrapyard Size: 102″ x 118″ x 18″ Year: 2022
‘VARAHA’ Plastic waste, paper pulp, cement dust, epoxy Size: 28″ X 44″ X 19″ Year: 2023
‘Impinged’ Repurposed wood and steel Size: 22″ x 20″ x 37″ Year: 2022
‘A Bird from the Lost Forest’ Repurposed wood, glue Size: 30″ x 24″ x 20.5″ inches Year: 2022
‘Rubble and the Mountains’ Repurposed, scrapped steel, Cement Size: 38″ x 33″ x 39″ Year: 2023
‘Two Nature’ Terracotta Size: 15.5″ x 15.5″ x 2″ Year: 2023
‘Overshoot II’ Dried Leaves, Floor paint, Clear paint and glue. Size: 30″ x 32″ x 1″ Year: 2020
‘Vulnerable Guardians’ Digital prints on cotton Gamuchas (sweat towels) Sixe: 90″ x 70″ Year: 2023
‘Matter of Life’ Size of the work: 49″ X 62″ X 39″ Materials: Up-cycled wooden table, old toys, stationeries, electronic waste, glue, cement etc Year: 2022
Matter of Life
In the Making of Himself
- Title: In the Making of Himself, as part of the New Nature show at Mumbai. Medium: upcycled industrial scrap wood, steel. Size: Height 126″ x 34″ x 42″ Date: 2021
Title: In the Making of Himself, as part of the Carbon show at Science Gallery Bengaluru. Medium: upcycled industrial scrap wood, steel. Size: Height 126″ x 34″ x 42″ Date: 2021
The Shadow of Samudra Manthana
Timeline of Backwash
Timeline of Backwash-I
Materials: Wood collected from Industrial scrap yards, floor paint, silkscreen printing. Year: 2015-20
Timeline of Backwash -II
We built the modern world with non-renewable resources of the earth in a short time of history. if the development models of the modern world could have been ecologically balanced or more sustainable, we could have avoided the extreme climate disasters in recent times. The vast water crisis, floods in India and elsewhere, massive forest fires in Australia, Amazon forests, superstorms across the globe are among the disasters one could relate directly to the global climate crisis. With the background of global climate scenario, these two artworks Timeline of Backwash I and Timeline of Backwash II, mostly focuses on the local ecological importance, which is the Western Ghats of India. The material used to build this work is repurposed from the industrial scrap yard demonstrates its brutal use and its journey from across the globe as merely called as crate wood.
The Western Ghats is one of the ten hottest biodiversity hotspots on earth and has great importance for water security for the entire region in many ways. It influences the monsoon patterns, and many rivers flow from the Ghats to plains. Over the last few decades, this remarkable site has been witnessing rampant, and disturbing developmental activities, like hydropower projects, minings, monoculture etc. As a result, the Ghats are shrinking with devastating effects on local ecology and life.
Images from the 350-year-old pictorial volumes ‘Hortus Malabaricus’ or Garden of Malabar play a reminder role in the background on the surface of wooden structures. The wooden structures reduced in geometrical shapes render the modernist outlook and the bold graphics in grey are the reminiscence of our developmental aspiration of the present.
Works at Kochi Muziris Biennale 2018
Wheels of Faith
CON-STRUCTION
Title: A Homage to Hendrik van Rheede. Materials: Reclaimed packaging wood from an industrial scrap yard, glue, Silkscreen printing. Size: 103”X85”x55”. Year: 2018.
Title: Con-struction I. Material: Reclaimed packaging wood from an industrial scrap yard, recycled paper pulp, cement, wood glue etc. Size: 107”x40”x26”. Year: 2018.
Title: Con-struction II. Material: Wood collected from construction sites, recycled paper pulp, cement, wood glue etc. Size: 112”x53”x20”. Year: 2018.
Title: Con-struction III. Material: Wood collected from construction sites, recycled paper pulp, cement, aluminium, wood glue etc. Size: 88”x 97”x 23”. Year: 2018.
Title: Consumed 1. Materials: reclaimed industrial packaging wood burnt, glue, steel, and fixer. Size: 68”X52”x45”. Year: 2018.
Title: Within, Without. Materials: Reclaimed packaging wood from an industrial scrap yard, glue. Size: 55”X108”x39” Year: 2018.
Title: Impinged 1. Material: Recycled paper pulp, cement, aluminium mesh, wood glue etc. Size: 60”x68”x35”. Year: 2018.
Title: From the other end. Materials: Flatbed printing on reclaimed packing wood from an industrial scrap yard. Size: 36′′x72′′x1′′. Year: 2018.
Title: From the series of Vulnerable Guardians. Medium: Flatbed printing on reclaimed packing wood from an industrial scrap yard. Size: 14′′x20′′x1′′ each panel. Year: 2018.
Title: Constrained. Materials: Recycled paper pulp, aluminium mesh, and wood glue. Size: 80”X68”x44”. Year: 2018.
Title: Impinged II. Materials: recycled paper pulp, cement, wood glue etc. Size: 55”X108”x39”. Year: 2018.
Title: Consumed II. Materials: Burnt reclaimed industrial packaging wood, glue, fixer. Size: 54”X35”x16” Year: 2018.
In-site
This body of works explores the tacit relationship between the spread of consumerist culture and the systematic decline of natural resources. This collection of cast forms deliberately recalls the processes of mass production yet my choice of materials (wood pulp, cement, aluminium, wood glue and paint) point to the environmental cost implicit in their creation. The arrangement of animals evokes a nostalgic park that encapsulates long-lost values and the need to reclaim a workable relationship with the natural world. The juxtaposition of the animals with the guardian figures printed on wood suggests that recuperation and conscious correction can only be found if we vigilantly guard against further intrusions.
Title: In-site. Size: Max. Height 34″
Materials: Wood pulp, cement, aluminium, wood glue, floor paint and reclaimed wood.
Title: Vulnerable Guardians. Size: 20″x 14″x 1″, Materials: Digital print on reclaimed wood, floor paint.
Title: In the Dark Rain.
Materials: Paper pulp, white cement, clear paint. Size: 33″x37″x18″