2018

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Chiado8, Lisbon

My work deals with the manipulation of symbols coming from specific geo-temporal contexts. These symbols hold the capacity to contain and synthesize subconscious apprehensions of the world in particular geo-time frames, crisscrossing each other and uniting us with our surroundings. I came from Portugal to India, since January 2018, thanks to a Fundação Oriente and Fundação Calouste Gulbenkian fellowships to undertake a hands-on research on natural dyes and hand block printing, practiced in Rajasthan. Printed patterns have been playing a role on enhancing our perception, educating our ways of seeing and thinking. Somehow, they have the power to imprint a rhythm, a vibration, in our subconscious mind, and to create an environment. Printed patterns also tell a story about the region where they were made, they encapsulate social-psychic narratives, labor-based structures. These two works on fabric – Ashlesha and Matsya – are one of the results of a three months residency and apprenticeship at Jai Texart in Bagru.
I would like to thank Hemant Sethia for his mentorship during these three months. I have been learning, practicing and combining the techniques of hand block printing and kalamkari using the natural dyes in Jai Texart Bagru Unit, a place where I found a beautiful working environment amongst the artisans and staff to whom I am most grateful.
Bagru is not only a name of village; it is also a name of a printing style and process. Bagru technique is unique for its indigenous printing style using natural dyes and colors with wooden blocks. Although this technique is facing problems against the threat of fast consumption of this late-capitalism air du temps, it is more than ever required to be encouraged to continue and prosper, especially in the present context of urgent environmental awareness.
The other two works present in the show – Water snakes and androgynous beings – were made in the context of a short residency at the Museum of Goa (MOG). I would like to thank Subodh Kerkar for inviting me and I would also like to thank the artists resident fellows and MOG’s team for the good company and vivid discussions.