View from the exhibition at Linderud, Oslo. Size of the wall 4 x 6 meters. 2021.
View from a display at the Oslo National Academy of the Arts. 2020
The following are some still images from a small audiovisual I made during March – April 2020 in the lockdown phase when I lost access to the studios, leading me to work in my small balcony with blue clay, also part of the project ‘beyond the aquarium’.

The 'beyond the aquarium' installation space has the combination of dreams inspired from an anecdote along with a slight leakage of memory from India put out into Norwegian space; and this further invites movements in the visual language embracing the character of fluidity.

Entering the installation, the viewer gets confronted with large cyanotype fabrics that are treated as walls or a boundary, the visual language is initially perceived as abstract. But as you enter, move around the space, and look closely at images and material details, one starts to recognize various forms among the cyanotype prints, drawings on blue clay and some woodcut matrices of domestic objects occur floating around in the tactile blue walls.

The objects(woodcut) are placed as part of my narrative, while the semi visible drawings on clay metaphorically represents temporality in everyday life. Like the memories of the past, getting\ dissolved in time, as one gets more and more engaged with the present.

A space like a pond or a river, a waterbody is almost like a dream space, which never remains the same each time we visit. Unconsciously, this installation similarly happens to change its form whenever displayed into a new space and time. The non-static quality of the pond-my departure point for this project, was a silent invitation to me to go there each day and observe the surreal world underneath in which you see yourself too.