Birmingham Institute of Art & Design, 2004, BA Visual Communication
National Institute of Fashion Technology, 1999, BA Fashion and Technology
Through dark humor, irony and the dichotomies of heavenly/devilish, consumption / excretion, pleasing/unsettling, my work attempts to evoke a sense of anxiety and congestion dealing with contradictions of the everyday and our times. It often interjects the idea of excess with notions of id, the psychosexual and our animalistic nature. By inventing an imaginary world, it mines the depths of ambiguity that could draw the viewer into a mirror of complexities of their own consciousness.
The work exists in an absurd and subverted domestic space. It draws from the conflicting nature of my own upbringing based on cultural issues of religion, gender, adolescence, sexuality and spirituality that led to a state of constant confusion and unrest. I struggled to find my own identity while constantly being identified through my hair (which is naturally voluminous and dramatic). I was often imposed with and made witness to other people’s notions of beauty, ugliness, racial and gender stereotypes, all due to my hair. The visceral quality of hair subconsciously factors into my work through developing an instinctive working pattern.
Indian folk visual traditions typically excluded from the official canons of history and art inspire these drawings. I enjoy the raw innocence of folk art, its depiction of the spirit world and our interior emotional realities. Primitivism in art gained impetus from anxieties about modern realities and as a way to engage in retrospective tradition to question the nature of humanity. Formally and stylistically, making use of a pronounced one-dimensionality and flatness, simple outlines, emotive distortions of the figure, lack of depth and perspective, are for me, not only ways of referencing alternative systems of living but also, calling into question the very idea of ‘primitive’.