Video installation, 4 min 46 sec, 2019
Dhekhasona is a colloquial Bengali word commonly used when the groom’s family visits the bride before marriage. This term reflects the harsh reality of perceiving women’s bodies as commodities, reducing them to blank slates upon which society imposes its narcissistic fantasies. The video projection in this artwork vividly portrays the objectifying foreign gaze upon a woman’s body within the cultural framework of a family structure.
Video art, 4 min 11 sec, 2019
This one-channel video work combines various footage to interrogate the concept of gender roles within the institution of marriage. It delves into the complexities of how historically oppressed individuals navigate societal expectations, and examines the extent to which they have been able to find avenues of resistance and achieve emancipation. In doing so, it underscores the significance of acknowledging the elements that have remained unchanged despite progress.
Drawing installation, drawing and watercolour on paper, 56 × 8 inches, 2019
The central focus of Really Fresh is to question the act of chopping and its connection to violence within a specific context. Through this piece, Ohida explores the metaphorical reality of recurring domestic violence, symbolically represented by the erosion of vegetables. The gradual deterioration of the vegetables serves as a metonymic representation of the extensive mutilation experienced by the victims of such violence.
A sequence of female figures whose heads are replaced by vegetables — eggplant, watermelon, tomato, mango — set against a warm golden ground. The repeated act of chopping and carrying functions as a metaphor for domestic violence. The work is also displayed as a folded accordion book.
Installation, 2019
Next Step Residency Program, 1 Shanti Road, Bangalore, India
This project portrays the profound impact of identity pressures on marginalised communities, offering a glimpse into the contextual reality of our society. Through this series, Ohida explores the inherent transparency of watercolour as a medium, which reveals incidental truths and invites introspection.
The kinetic installation operates as a metaphorical panopticon, conveying the continuous propagation of oppression in our contemporary era , maintaining surveillance and perpetuating a sense of control. The rotating drum printed with figures enacts the endless repetition of violence.
Photo ink on Canson paper, 12 × 8 inches each, 2019
DC electric motor, 3 RPM, Canson paper, OHP print, 2019.
Installation, 2018
Black cloth, embroidery stones, readymade ribbon, chain of zero-watt lights
Top: 14 in. diameter · Bottom: 20 in. diameter · Height: 66 in.
This installation reflects exploration of the veil and its social implications. The creation of a monumental structure with two layers of veils symbolises the presence of patriarchy within society. By resembling the phallus, the installation aims to address and challenge the power dynamics associated with patriarchy.
To encourage viewer engagement and critique the concept of voyeurism, eyeholes are incorporated at various positions within the structure. These eyeholes invite viewers to intervene by peering through them an act that serves as a criticism of voyeuristic tendencies and invites viewers to question their own role in perpetuating power imbalances.
Through this installation, the intention is to provoke reflection and dialogue about the societal structures that uphold patriarchy, and to encourage viewers to actively engage in dismantling these systems.
Viewed from inside the structure through the eyeholes: a photograph of Alta-painted feet, and a manipulation of a college ID card questioning identity.
Installation , watercolour on Wasli board with Rehal stand, 2018
Drawing installation , two drawings on paper with tungsten bulb backlight
24 × 18 inches, 2018
The artwork delves into the intricate theme of cultural identity, capturing the interplay of religious and social significance in a unique and compelling manner. It showcases the complex tapestry of diverse cultures, inviting viewers to contemplate the richness and diversity within our society.
Watercolour and gold foil on Nepali handmade paper, 24 × 16 inches each, 2018
Four works in which overlapping figures fragment into loose watercolour blooms of rose, umber, and grey punctuated by gold foil accents that suggest both adornment and dispersal. The handmade Nepali paper adds texture and unpredictability to the surfaces.
