works from year 2010

Kurup (Deformed) Mannequin:

Material used: plastic dolls, cycle wheel, glass slab, GI wire, burnt wooden mask, steel rod, Spray color, iron wire
Size: variable

This installation is based on socio-political issue. During my stay in Bangladesh, I was surprised to see the grills on the windows of almost every home. It made me wonder if those metal grills installed for the protection of the home owners? And if so who did they need to be protected from? I always used to think that peoples locked themselves inside their fortified homes grills to protect themselves from the “evils” freely roaming around the roads and cities. At that time there was unannounced army government in power. After the 90s, our socio-cultural sectors were deeply affected by global terror and our own civil war that stretched over 12 years. During this period, military presence was openly seen in Nepal – the war games by both the Maoists and the Army created a state horror in the nation. In the quest for power and politics, different political groups started to use army power in Nepal. The war badly affected our own local social structure, cultural structure, economy and other sectors. I felt that the people we mere puppets or mannequins manipulated by political war mongers and the state of terror had converted us into deformed mannequin. The cage used in this Art piece is influenced by the grills used on the buildings of Bangladesh. Likewise, wheels are used as a symbol of Rickshaws which represents the local culture of Indian subcontinent. Plastic Army Dolls are also used as found objects which displaced the local folk doll culture after 90s. In our childhood period, we all used to play with local cultural dolls. But after 90s, plastics army dolls were appeared in the local market. These dolls symbolized the highly rising armed forced culture in international sector as well as in local sector. Similarly the burned wooden mask kept inside the cage represents us as ugly mannequin.

Musical-chair (collaborative work):

Material used: color pigments, plaster of paris, iron wheel of motorbike
Size: variable

This is the kind of interactive installation to wish peace in world.
As we human beings are responsible for unrest in the world and we are going to destroy ourselves, we placed the human body in cannon (artillery) position and used head as shell (bomb) to symbolize it.
Following the musical chair game’s rule, we invite visitors to participant in game and express their commitment for peace during the leaving time.

The Festival:

Video Installation
Material used: lcd screen, dvd player, converter, plaster of paris, febric
Size: variable

This video installation is the kind of documentation, where the process of bringing the festive mood among the villagers has been shown.

During my site-specific social project “toy house” at Meharchandi village, Bangladesh, I had made one toy house for children with the help of local people, where I used local natural materials to make the house and installed different toys inside it and its surrounding.

The villagers were very excited to participate in my project and the children of the village enjoyed the project as well.

I also have molded my own hands & face and then casted in plaster for video installation.

But I am not

Medium: Digital Print
Size: 30 cm * 40 cm 

Ganesha (Sanskrit: गणेश; IAST: Gaṇeśa; About this sound listen), also spelled Ganesa or Ganesh, also known as Ganapati (Sanskrit: गणपति; IAST: gaṇapati), Vinayaka (Sanskrit: विनायक; IAST: Vināyaka), and Pillaiyar, is one of the deities best-known and most widely worshipped in the Hindu pantheon.[5] His image is found throughout India and Nepal.[6] Hindu sects worship him regardless of affiliations.[7] Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.[8] Although he is known by many other attributes, Ganesha’s elephant head makes him easy to identify.[9] Ganesha is widely revered as the Remover of Obstacles[10] and more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha (Sanskrit: विघ्नेश; IAST: Vighneśa), Vighneshvara (Sanskrit: विघ्नेश्वर; IAST: Vighneśvara)),[11] patron of arts and sciences, and the deva of intellect and wisdom.[12] He is honoured at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions.[13] Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.Ganesha emerged a distinct deity in clearly recognizable form in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors.[14] His popularity rose quickly, and he was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya, (Sanskrit: गाणपत्य; IAST: gāṇapatya), who identified Ganesha as the supreme deity, arose during this period.[15] The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

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