Tethered Currents

About the Work

I have hesitated to share this work because I often question whether it will resonate with audiences, especially given its unconventional combination of materials like ceramics and thread. My reluctance arises from a deep self-critique of the concept’s content and its expression through these varied mediums and feminist ideas. As a result, I have withheld previous iterations of this piece from public view. Finding a space that embraces vulnerability, artistic doubt, and the complexities of material experimentation has been essential for me. The exhibition “On Display: A 21st Century Salon des Refusés” provides a critical platform for my work to be shared with a larger audience. I am grateful to be in a context that acknowledges the emotional and conceptual labor involved in creation, and that welcomes work that challenges or quietly questions the conventional boundaries of contemporary art.

About the Artist

Living in the heightened global, political, ecological imbalanced and socially unequal and unjust environment, the need to locate, decode, and connect with one?s inner self and the exterior world is central to my oeuvre. The works are essentially an amalgamation of many competing realities and concerns.\

I am home, takes home out of the confines of the architectural space. Thinking of home not as the physical address but a place one live first and foremost.
Body as home; I become a home I become free.
a tender reclamation of the realization that your body is home.
The place I have freedom is at home. I am home.\

A thirst, explore themes of connectivity, differentiation, and facilitation, emphasizing societal tendencies to constrain and diminish the rights, desires, and bodily autonomy of women, among many other disparities. Water and ecology acts as a metaphor for a connector, highlighting the intricate intersections of our bodies, their environments, and their relationships to other forms of being.\

Holding(s), explore the multifaceted concept of holding - delves into the duality between holding and holdings. It examines ideas of both protection and ownership from perspectives of warmth, shelter, and possession. The sculpture forms embodies the notion of warmth, evoking feelings of intimacy and connection that convey a sense of belonging and care. However it also extends to the concept of holdings, pertaining to women’s bodies. it underlines themes of exploitation and ownership as it continues to prevail in social, cultural, and gender discrepancies, and political unrest as it concerns women’s bodies, our land, and nature.\

no bed of roses. The bed and our relationship with it is complex. The bed is associated with passion and intimacy. A bed for some is a safe place. One’s bed is often a symbol of home, care, of deep personal connection, and retreat from the world. a place to heal but also a place of death, disease, domestic abuse, and other more unseemly acts. In the light of recent events and as a woman and artist, the work, ?no bed for roses? brings to surface the painful reality absence of having autonomy for one?s own body - its sexual desires and agency over reproductive rights as some unpleasant aspects of living in the man?s world. Our private, personal, and intimate are made unpleasantly public.\

of color, Blood. The portrayal of many black and blue, brown and pale faces embraces our unique yet common humanity to assert our individual and collective ideas to realize oneself in relation to others.The wor k collectively shares stories of pain, conflict, and suffering because of prevalent social, cultural, and political disparities. Yet, To think beyond the colonial framework and critique disparities based on race, gender, religion, class, and power, which brings social conflicts and relational clashes, the work ‘of color, Blood’ highlights the common bloodline color for love and compassion. We are all people ‘of color, Blood.’