As an artist originally from India, my works are primarily rooted inIndia’s socio-political landscape, exploring the complexities of human existence with a particular focus on themes of visibility and invisibility, especially regarding the marginalized community of skin workers. I am drawn to materials that resonate both physically and symbolically, experimenting with their inherent qualities to understand their transformative potential. My practice mainly involves materials sourced from India, such as interlining paper, a fabric commonly used in embroidery that fades with repeated washing, and traditional pigments like Multani Mitti (Fuller’s Earth) and Geru (red ochre), which are associated with skin purification. I also incorporate everyday domestic materials like wheat flour, ghee (clarified butter), coconut oil, my hair, and discarded fabrics.

In my work, the process is more crucial than the outcome. It is labour-intensive and physical, involving mark-making, constructing, deconstructing, layering, cutting, pasting, and stitching.This process keeps my work in a constant state of evolution— never truly finished, always open to being restarted or reimagined. These abstract, intricate paper constructions invite viewers to interpret and re-examine our relationship with materiality, reflecting on the materials that bear witness to our lives.

At the core of my practice is the exploration of the relationship between the body and the traces it leaves behind. I use my body as a tool, delving into the notion of human traces and their potential for infinite expansion. Through this exploration, my work invites viewers to reconsider how shifts such as class disparities, labour, and systemic neglect shape our identities and how we engage with the materials and the memories they hold.