Sometime in late 2006 I bought a Moleskine journal and a small selection of Tombow pens from a store on Tottenham Court Road in London. Nearly ten years later I rediscovered these supplies at the back of a drawer in my Bangalore studio and felt bad I had never used them – there and then I started working, and from the first few quick and spontaneous drawings this series took shape.
‘Sandown’ is a new series that re-appropriates iconography from a collection of Indian matchbox labels and situates them on an isolated beach in the south coast of England. The bringing together of these contrasting visual elements creates a tension between culture and context.
The common thread through the series is the horizon line, which holds together a fragmented narrative where animals and objects, out of place in this setting, are in an awkward and nonsensical dialogue with each other.
My non-linear and semi-autobiographical works examine the processes we use for communicating, manipulating and reading visual messages. In this series of British and Indian imagery, the frame and grid provide a structure that facilitates a dialogue between inside/ outside and a tension between what is known, assumed and thought.
A new photographic series of Kannada scripts. Inspired by Roland Barthes’ book Empire of Signs, these images explore signs of cultural logic and convention that are absent of meaning to the nonmember/ outsider.
I have just finished a new series of drawings that place Edward Lear’s nonsense word ‘runcible’ within various disparate visual contexts.
‘Runcible’ is a nonsense word invented by Edward Lear in 1871. In his poetry this word is used to form semiotic gaps that cannot be satisfactorily resolved or understood by the reader. The nonsensicality of this word is further compounded when used by Lear as an adjective to describe a range of disparate nouns, including: a runcible spoon, raven, cat, wall, hat and goose.
This series of drawings situates Lear’s ‘runcible’ within a variety of disparate scenarios. Through a process of contextual shifting the word suggests a multitude of meanings that conflict or contradict – The result is nonsense.
An ongoing series of photographs I have been working on that explore the relationship between iconic, large-scale advertising billboards and the surrounding environments in which they are situated. Photographs in this series were taken in Bangalore, Varanasi, Delhi, Cochin and Kovalam, India.
Over the past couple of months I have been photographing Kolam designs in the area around my street in Yelahanka, Bangalore.
Drawn outside the entrance of the home, Kolams are thought to bestow prosperity. Made with rice powder, the symmetrical patterns range in both size and complexity and often seem to represent wealth or status.