I fear, as I hear, those voices, knocking in my dreams.
Crisis, tranquillity, decaying and absence is actively present in my work, due to its strong personal connection with me, as I have been away from my home for the last couple of years. The sudden deaths of my closed ones are the responsible cause of such feelings generating within me.
History, destruction, erosion, hazardous and ghoulish factors also inherit my works, which I believe has a strong connection to war.
I have used both conventional and non-conventional mediums in my work. When I painted, I had applied several layers of colour, slowly and softly, then scrubbed them off and have again applied colours on them, through this process I tried to develop a sense of history, memory, absence and presence.
As materials I have used my mother’s saris, rust, cement and acid. Mother beholds a very caring, loving and tender characteristic, while these characters are gradually getting annihilated in this globe, which I have tried to depict by using rust and acid as materials, which are corrosive in nature, same is the purpose for using cement, but also for its constructive quality,to generate a sence of deconstruction through construction.
I have done two works in this process, by using rust, acid and mother’s sari as materials, whenever it gets faded(for the reason of using acid), I regularly work on it, through this process I am trying to develop a sense of nursing for the ailing mother earth.
I have used images from the field of art history to develop a symbolic sense and to create a bridge with history. There are many images of cactus in my paintings, because the cactus with its fine spines appears to me very ghoulish.
The tension at the international borders of India and Pakistan, initially took my interest in dealing with this issue and then I started researching on this issue and while I am doing this research, what I learn is the complexity that is involved in it, the terror of silence, the sinking social and economical structure, the transforming geography, the forced migration, the changing valuation of technology to support a war, the varied structure of reports by the media of the two nations, filled with nationalistic ideologies and thus supporting the emotional engagement of the fellow citizens, but holds the complexities of whom to rely on?
But what drew me more was the activity of disappearing sounds to gain noise but an absolute silence, the quality of abandonment, ceasing civilizations, the marks of history with multiple layers, within the discourse of time, decaying, weathering and the organic growth, this sense of desertness capitivated my works, at a higher intensity, this quality of desertness naturally produces the visual synonyms of grief, mourning, the death of a power, the sense of dislocation, the moving people from and to a different geography.The world is in a huge crisis of social and moral security, these factors have consciously and sub-consciously prompted my works on this issue.