Work
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Dhekhasona
Video installation, 4 min 46 sec, 2019. “Dhekhasona” — a colloquial Bengali word for the groom’s family visiting the bride before marriage — exposes the reduction of women’s bodies to objects of the male gaze.
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Beyond Monochrome
Video art, 4 min 11 sec, 2019. A one-channel work combining footage to interrogate the concept of gender roles within the institution of marriage, examining how historically oppressed individuals navigate and resist societal expectations.
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Dark Flower
Watercolour on paper, 18 × 12 inches each, 2019. Four panels exploring dreamlike, visceral compositions in which the human body merges with organic and botanical forms — figures dissolving into dark rose, grey, and black washes.
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Really Fresh
Drawing installation, drawing and watercolour on paper, 56 × 8 inches, 2019. A panoramic frieze in which female figures’ heads are replaced by vegetables — a metaphor for recurring domestic violence and the gradual erosion of identity.
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Mother’s Arms Are More Comfortable
Installation: photo ink on Canson paper (3 works, 12 × 8 inches each) and kinetic installation (DC motor, 3 RPM), 2019. Shown at Next Step Residency Program, 1 Shanti Road, Bangalore. Drawing on the Mater Dolorosa, the work represents the recurring trauma of everyday domestic violence.
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The Home and the Globe
Installation, black cloth, embroidery stones, readymade ribbon, chain of zero-watt lights, 2018. Top: 14 in. diameter, bottom: 20 in. diameter, height: 66 in. A monumental veil-form with eyeholes, addressing voyeurism and the power structures of patriarchy.
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Exuberant Anonymity
Installation — watercolour on Wasli board with Rehal stand, 2018. An illustrated book mounted on a traditional wooden Rehal, presenting the work as a sacred text. A fully covered figure photographing a selfie — signifying the right to remain anonymous in an era of mandatory digital identity.
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Burden of Sorrow
Drawing installation — two drawings on paper with tungsten bulb backlight, 24 × 18 inches, 2018. A layered double-exposure of drawings illuminated from behind: a veiled woman in an ornate burqa holds a small child and a scroll bearing Bengali script.
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Dream of the Moro
Watercolour and golden foil on paper, 16 × 24 inches each, 2018. Two panels rendered in the tradition of South Asian miniature painting — a veiled woman carrying a naked infant; a man in traditional dress holding a pistol in one hand and a red rose in the other.
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Leaves Are Falling
Watercolour and gold foil on Nepali handmade paper, 24 × 16 inches each, 2018. Four works in which overlapping figures fragment into loose watercolour blooms, punctuated by gold foil accents that suggest both adornment and dispersal.