I’VE ALWAYS HAD MIXED FEELINGS about being termed an Asian or a South Eastern artist, mainly because I’ve never seen myself as localized to any one culture. My professional career is in Corporate Event Industry, and now I am running an Art Gallery. So, my current role is very mixed. When Anita Vardhan approached me about doing an exhibition, we decided to introduce my work, even though much of the audience in Connaught Place may already be familiar with it. It’s been interesting for me because suddenly I’m seeing different works together and new connections between them, and there’s a real fusion of geometrical motifs with constructivist elements from my Indian background, as well as this fantastic aspect of my interest in storytelling.
I don’t know that I would say that this alienation is a technological problem—that I’m anti-internet or that we’re all losing touch. That’s not the conversation I’m trying to have. I wanted this work to come from a sincere, vulnerable, and emotional place, and that’s definitely an emerging necessity with creative voices. Irony doesn’t have a place now.
2015 WAS A PIVOTAL YEAR FOR ME. I found myself working in three verticals at the same time: in event design (aa an freelancer to Event Companies), in video, and at the loom. It was a revelation to me that all three encode and decode information in lines. I was also drawn to the multi channel genre developing at that time because it most clearly challenged the traditional viewer-broadcaster relationship. The viewer had to leave the living room and go to a public space to view the work. And the loom—which was actually the first computer on the face of the earth, in that it programs patterns according to a numerical structure—was the most sophisticated technology I could find to understand the programming of multiples.
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