International Residency Aug-Sept 2003

Perhaps in exchanges as these, cultural differences and similarities get highlighted.

Mithu referred to her image making as a process that has evolved as being opposed to the inorganic. The choice of medium and the process of making the image has often bordered on being autobiographical when placed in the public sphere. Using skills (embroidering, stitching etc) akin to and identified as art made by women Mithu, engages the viewer in a dialogue about self / identity / race / origin within a gender polemic.

Ise works towards making the image in a site specific to the idea / discourse that uses a aesthetic that is common place, located within the city spaces with voices that make the layers in the Malaysian society. Living spaces, restaurants, subway are places where paths cross and the idea of a nation made. Ise sees himself as a author/artist whose table of contents is made when engaging with a site.

Jimnah works within a parameter of a medium as glass, metal, oil. He works without a preconceived idea; rather the image unfolds a day-to-day observation of the Kenyan society. The meanings made are subjective. Analysing his process he believes that form became fully realised when he explored metal and glass as a medium.

Masooma's earliest works are painted with a juxtaposed layer of a familiar past in photographs, cutouts from sources as magazines on surfaces other than canvas. It is in the process of displacing the image from the frame that she started to make objects layering multiple narratives, representative of the society. She addresses gender and gaze via the process.

Sumedh's earliest works began as a study into past, by reworking the image as it exists in a time frame like a fragment from a Islamic arched doorway or a metaphor like a headless horse. He incorporates the sculptors act of making the image in clay, then moulding the same to reach a meaning that at once uncovers history in the copying / redoing / imprint, the reading worked inwards.