Decolonial Refigurations

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The Empress of India
3D printed PLA, 2020
~8”(W) x 18”(H) x 4”(D)

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Siva Nataraja
 

Located: Guimet Museum, Paris
 

Origin: Tamil Nadu, India,
Chola, Bronze (?)

 

Provenance: ?

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Queen Victoria
 

Located: National Portrait Gallery, London


Origin: Replica by Sir Francis Leggatt Chantrey, marble bust, 1841, based on a work of 1839

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deepanjan_Buddha_Campbell_1.jpg

Buddha_Campbell
3D Printed PLA, metal plumbing hardware, wood, 2021

7”(W) x 66”(H) x 5”(D)

Install at Stove Works, Chattanooga, TN

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The Buddha
 

Located: The British Museum, London
 

Origin: Jamalgarhi, NWFP, Pakistan,
Gandhara, carved stone,
2nd C - 3rd C

 

Provenance: Acquired from Eustace Smith, 1895

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Colin Campbell Clyde, 1st Baron (1792-1863)
 

Located: Fitzwilliam Museum, Cambridge, UK
 

Origin: Slip cast porcelain, Late 19th Century

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Parvati_Havelock
3D printed PLA, 2021
~8”(W) x 12”(H) x 5”(D)

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Standing Parvati
 

Located: The Met, NYC
 

Origin: Tamil Nadu, India,
Chola, Copper alloy.
ca. first quarter of the 10th century


Provenance: [ Unknown dealer, Pondicherry, India, by 1935; sold to Kevorkian]; [ Carneg Kevorkian , Paris, from 1935; sold to Burnett by 1956]; Cora Timken Burnett , Alpine, NJ (by d. 1956; bequeathed to MMA)

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Sir Henry Havelock
 

Located: Fitzwilliam Museum, Cambridge, UK
 

Origin: Slip cast porcelain, Late 19th Century

 

MDIYD

MDIYD (timelapse), Projected text animation, 2021.

Timelapse: Real time- 20 minutes. Video time- 30 seconds.

Location: Stove Works, Chattanooga, TN

MDIYD (real time)

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PRE

Predecessor Rainfall Event

LCD screen, cables, reflector, text animation, metal chain & hardware, 2021
20”(W) x 135”(H) x 3”(D)

 

Pre/Post/Eros (Work in Progress)

Pre/Post/Eros 2.0 is a continuation of Pre/Post/Eros and includes the same concerns present in my older works. This series specifically focuses on a deliberate conflation of ‘the spectator’ with ‘the consumer’ within institutional spaces while homing in on the connection between scopophilia (the love of looking) and consumption. Some of the works in Pre/Post/Eros 2.0 were thought of before the COVID-19 pandemic, yet some of them can become even more appropriate to our economic reality when contextualized in the post-COVID-19 era.