‘Practice’ is the daily ‘work’ (verb) of art. It represents the sum of all moves—practical, conceptual, affective, cognitive, philosophical, analytical, and aesthetic—that occupy or de-occupy the state of our triangulation at any given moment. Contingent by nature, this practice shifts shape, surprising itself as much as it surprises others. Like a mycelial inhabitation—indeterminate and unbounded—it keeps expanding.
.MOV.ESSAYS | .MP4.PLUS | DEVICES | GATHERINGS | INTERFERENCES | INTERRUPTIONS | LEXICA | LOOPS | UNLEDGERED
On Earth as in HeavenShown at: Ballard Estate, Religare Arts Initiative, Atmaram Mansion, Scindia House Connaught Circus (2010) Découpé acylic stack, using transparent, translucent and acid orange sheets. Placed on mound with astro-grass covered stepsDimensions, 3 feet x 4 feet; 310cm x 91 cm x 155 cm (at highest point) On Earth As in Heaven […]
The Capital of Accumulation is a video installation that writes an oblique narrative of the relationship between metropolises and the world in counterpoint to Rosa Luxemburg’s exceptional critique of global political economy, ‘The Accumulation of Capital’.
Brazen (2009) was displayed at The Audience and the Eavesdropper, Phillips de Pury, London and New York.
In the grounds of an abandoned steel furnace, in a city that once made the greatest amount of steel in the world
he Surface of Each Day is a Different Planet builds sequential scenarios that move across time and space, while considering collectivity, anonymity and the question of identity through history, fantasy and speculation
The clock’s hands measure the stations of the hours, while human hands play their own game of silhouettes, closing in on the hour of fear only to then open out on the moment of ecstasy, as if protecting Time from its own devices.
The installation uses found poetry and accidental discoveries in archives and takes the form of a playful gesture of appreciation of the labour of the archivist.
One thousand four hundred and forty crystal perspex tubes, some square, some circular, some hexagonal, sit tightly packed in what looks like an transparent empty clock set on a plinth.
used transparencies of mechanical drawing encased in plexiglass sheets, the clouded light of dawn and the rudimentary text of the screenplay of an imaginary film sequence to speak of the quotidian battle between love and time, fought over the delicate terms of the silent departure of a man from his lover’s bed.
When the Scales Fall from Your Eyes dismantles our obsessions with measurement and quantifiable evaluation by gathering scales that set out to weigh impossibilities.
The sculptural installation The Reserve Army examines the intersection of a personal artistic practice (in this case, that of the early 20th Century Indian sculptor Ram Kinkar Baij) with the construction of icons to represent the newly independent nation-state, as well as the rather clumsy union of Modernism and a traditional, folkloric Indian culture.
Unusually Adrift From the Shoreline is a work about darkness, light, navigation and memory. Centred on a cinema lost to time, it is intended to prompt unfamiliar thoughts in the city. Thoughts and feelings about the pleasures and the hidden perils of losing oneself: in movies, at sea, and in the oceanic expanse of time.
Unfamiliar Tales is a pair of image-text diptychs titled ‘How The Most Terrible Solitude Was Overcome’ and ‘How the Long Wait for the Thaw was Endured’
Every factory has a time book. The time book is an index of the value of a worker’s time. It records hours, minutes and money, and acts as the memory machine of a factory.
A fragment of faux classical Greek statuary, an extended arm, stretches across the plane of a poster, traversing a laterally inverted map of Europe, pointing away, below a band of flat colors, an array of would-be flags
Insurance%Investment illustrates the mental arithmetic of investment and insurance, two mechanisms designed to administer, anticipate and forestall risk, speculation and the possibility of failure.
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