Decolonial Refigurations
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Child Saint, 2022
3D Model
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Child Saint Sambandar
Located: Freer Gallery of Art, Washington, DC
Origin:
Chola, Bronze (?)
Provenance: ?
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Sir Henry Montgomery Lawrence
Located: National Portrait Gallery, London
Origin: By Thomas Campbell, marble bust, 1849
Provenance: Donated by subject's grandson Sir Alexander Lawrence
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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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Lie with Me
3D Model, 2022
Work in Progress
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)
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 2.0 (ongoing)
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.