About my work/ artist statement

Artist statement: \[im\] material interventions series

  
sculpture, photography, installation, durational performance/intervention. 2010- ongoing

Artist statement: [im] material interventions series

[im]material interventions series, Interventions in the Void # 1

\[im\] material interventions series:

  
Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

[im]material interventions series, Black Cube,

limlmaterial interventions series, Lucknow University, Archive # 1

\[im\] material interventions series: 

  
Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

[im]material interventions series, Lucknow University, Archive # 5

\[im\] material interventions series: 

Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

[im] material interventions series Lucknow University, Archive # 11 & 12, diptych

\[im\]material interventions series: 

Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

[im]material interventions series, Interventions in the Void # 2

\[im\]material interventions series:

  
Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

im material interventions series Interventions in the Void # 5

\[im\]material interventions series: 

  
Shoe polish is a unbound sedimentary soot - toxic, rudimentary and ubiquitous. In this series, I use shoe polish as an invention into institutional and colonial architecture.

The act of applying shoe polish, or polishing a surface with an opaque yet transitory material, is reflective of class and its socioeconomic positions. I perform and document these impermanent interventions to capture the cycles of extraction, erasure, and recreation of everyday labor, highlighting how meaning and relevance are constantly reshaped and deferred.

[im]material interventions series, Interventions in the Void # 14.

Artist Statement for Refuse \[ \] Refusal series

  
drawings, photography, performance, acrylics and betel leaf pigment paintings, 2010-2018\. 
  
  

Refuse [ ] Refusal series: Artist Statement

The act of consuming paan—a folded betel leaf with nuts and medicinals-and spitting out the remainder, serves as a metaphor for the reflection, consumption, and rejection of the marginalized.

Through these photographs and paintings, I explore how we de/value these artifacts of cultural practice and the people and histories they represent.

Refuse [ ] Refusal archive # 15

Refuse [ ] Refusal archive # 7

Refuse [ ] Refusal series: Cross section

Refuse \[ \] Refusal series: The act of consuming paan—a folded betel leaf with nuts and medicinals-and spitting out the remainder, serves as a metaphor for the reflection, consumption, and rejection of the marginalized.

Through these photographs and paintings, I explore how we de/value these artifacts of cultural practice and the people and histories they represent.

Refuse [  ] Refusal series: Blow up

Refuse [  ] Refusal series: Suspended-2

The matchbox is a primal technological object which keeps a record of its life. 

This series is a collection of discarded matchboxes, each bearing the marks of its service to its user. These elemental abstractions portray cycles of extraction, erasure, and creation in individual life, which I weave together as an archive of collective memory.

Abstractions from Prometheus, Color Archive # 25

The matchbox is a primal technological object which keeps a record of its life. This series is a collection of discarded matchboxes, each bearing the marks of its service to its user. These elemental abstractions portray cycles of extraction, erasure, and creation in individual life, which I weave together as an archive of collective memory.

Abstractions from Prometheus, Color Archive # 47

Abstractions from Prometheus Archive # 2,

Abstractions from Prometheus Archive # 1,

Artist statement: Abstractions from Prometheus series (2012-2024)

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Prashast Kachru

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