PROGRAMMES /

International Residency Aug-Sep 2003

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

Mithu referred to her image making as a process that has evolved through 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 mannerm through an aesthetic that is common place and located within the city space; the voices that layer Malaysian society permeate through her work. Living spaces, restaurants and 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 with various mediums such as glass, metal, oil. He works without a preconceived idea but rather enjoys watching the image unfold as a day-to-day observation of Kenyan society. The meanings constructed through the image making process are subjective. Reflecting upon his process he believes that form was fully realised when he began exploring metal and glass as mediums.

Masooma’s earliest works were painted with a layer of a familiar past through photographs and cutouts from print material repositioned on anything other than a canvas. It is in the process of displacing the image from the frame that she started to make objects which layered and referenced multiple narratives, representative of the society both past and present. She addresses gender and the gaze through the process and her practice.

Sumedh’s earliest works began as a study into the past. He reworks the image bound by time through treating it like a fragment from a Islamic arched doorway or a metaphors such as a headless horse. He incorporates the act of making the image through the clay form, he the moulds and reshapes the object arriving at a new meaning and interpretation through reveling a history through the copying / redoing / imprinting and reworking.

TAGS , , , , , , , , , , , , , , ,