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ritesh ajmeri

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rays, 2005 Thread, Painted on Floor Variable © ritesh ajmeri
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adaptation, 2005 P.o.p Variable © ritesh ajmeri
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made by nature, 2005 Land Art Varibale © ritesh ajmeri
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rain drops, 2003 Thread, Glass, Mildsteel Variable © ritesh ajmeri
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Extension , 2003 Brick, Mild Steel 60xhes30x18 Inches © ritesh ajmeri
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speaker, 2003 P.o.p Variable © ritesh ajmeri
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black on black, 2005 Fiberglas, Earth Colour Variable © ritesh ajmeri
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black on black (another view), 2005
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Living sculpture, 2005 Sliastic Rubber, Fiberglas, Audibal Sound, Mechanism 48x20x15 © ritesh ajmeri
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Existent, 2005 Land Art Variable © ritesh ajmeri
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Queastions & Answers, 2008 Casted Iron, Wood 36x72x5 Inches © ritesh ajmeri
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live, 2008 Casted Iron, Mild Steel, Stainless Steel 56x36x19 © ritesh ajmeri
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Rusted brain, 2008 Mild Steel, Wood 36x 36x4inches © ritesh ajmeri
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Rusted Brain I, 2008 Bronz, Mildsteel, Cated Iron 24 X 15 X15 Inches © ritesh ajmeri
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Rusted Brain detail, 2008
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Hard & soft edges, 2008 Steel, Artificial Hair, Wood, Mildsteel 48x 24x24 Inches © ritesh ajmeri
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real, 2005 Neo Neon Light, Wood 30x 48 Inches © ritesh ajmeri
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untitled, 2009 Slistic Rubber, Glass Eyes, Wood, Hair 36x48x6 Inches
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Winding Time, 2011 Single Channel Video 5mint Loop © Ritesh Ajmeri
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Quick Facts
Birthplace
vadodra
Birth year
1980
Lives in
vadodra
Works in
vadodra
Representing galleries
none
Tags
installation, video-art, figurative, conceptual, sculpture
Statement

In the present-day scenario of image-making and reception, one is not merely surrounded by, but rather exists in an inseparably networked environment of a proliferation of the virtual and mediatized worlds rendered omnipresent by technology. This condition, to me, seems to leave for the society a multiplicity of vectors, where individuals can choose any point of intersection between that multiplicity. Each individual therefore, can exist in multifarious identities and pseudo-identities; under various overlapping systems of representation; and in a relationship between persons and spaces marked by flux due to these overlaps. ‘Nature’, ‘real-time’, ‘space’, ‘image’, all acquire and moult meanings constantly, thereby displacing all axes for cognitive perception. It is in this displacement of axes that I situate my art-practice, where media, objects, and images are incessantly susceptible to instability.

 

Having been trained in sculpture within an academic milieu, I have always encountered an insistence on the ‘object-hood’ of art-works. This aspect seems to run pervasively through the commoditization of art in today’s time despite interventions of performance, digital and installation art. However, over a course of two years while I was pursuing my Masters Degree, my engagement shifted from exploring the intrinsic possibilities of the medium, the object and the image, to utilizing the surrounding space of display for my aesthetic expression. From there onwards, I have rarely confined my practice to creating objects, but instead focussed on the accretion of meanings that temporarily bind an art-object to its site of display and its context. This has led to my preoccupation with the idea of site-specificity as the only constant within an oeuvre of very diverse art-works, as well as the possibilities of allusions that one medium or object can bring.

                                                         Statement

It is with the above-mentioned notions in mind that I pedestalize a rusted television set in ‘Live’. The television is perhaps the most ubiquitous source of our access to the world/globe today, especially with regard to middle-class India. The ‘live’ in the title refers to perceiving the object in actuality, and the mediated reality that the television begets in the form of live telecasts. On a similar note, ‘Real’ points to the aspect of spectacularity that pervades our everyday life, and the fact that the real can also be switched off and on, and may even fuse at any point. ‘Black on Black’ is a tribute to Malevich, in which I had tried to transfigure his ideals of suprematist abstraction back into the figurative. In this work, I tried to bring the question of culture and race, of self and ‘othering’ by inserting a life-size sculpture of myself, as if shrouded by ‘colour’. ‘Rusted Brain’ is a recent work that frames a typical text-book diagram, profile view, of a human brain that I made using rusted nails. The work employs sarcasm and ‘speaks’ about sarcasm, since the brain also resembles a speech-bubble against the white mount in the frame.

 

The aspect of displacing all the axes for cognitive perception, as mentioned earlier, thus becomes fundamental to my art-works, for it is not from the identification and interpretation of the object that meaning may be derived. Rather, it is from the dispersed contexts overriding the object that meanings may be read. Ellipsis has consequently been the most significant feature of my works, as I have attempted to engage the viewer’s mind and not the eye, by showing the interstices between an art-object and it’s surrounding. The locus of attention is yet retained by the presence of the art-object.

Exhibited at these venues
ritesh ajmeri has Exhibited at these venues: