Dimensions: 2" x 3"
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Graphite on paper
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Abstract: 
This sketch is a study of a particular part of the female anatomy. In my opinion, breasts must be looked at as a work of art- as though it is poetry in the form of flesh.

Poetry in Flesh

Dimensions: 8" x 10"
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Watercolour on cold pressed watercolour sheet
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Abstract: 
A tempest in the most common of boxes.

Thinking and overthinking can make have detrimental effects on ones psyche. The tempest inside ones mind is the most difficult to run away from. This artwork is an attempt to display the tumultuous nature of ones mental health.


The Tempest

Dimensions: 8 cm x 8 cm
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Watercolour on cold pressed watercolour sheet
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Abstract: A motif on the cenotaph of Shah Jahan's grave, Taj Mahal, Agra, Uttar Pradesh.

As he admired the Taj, missing his Begum, the Badshah wished to be buried next to her.
While Mumtaz Mahal's cenotaph, with verses from the Holy Quran inscribed on it, is in the centre of the tomb, Shah Jahan's cenotaph, with a takht, and mostly floral motifs inlaid on it, is right next to it. Florals motifs, during Shah Jahan's rule were reserved for spaces associated with the emperor and his family.

From the sprawling chārbaghs to the stories etched in sandstone and marble to the intricately carved jaalīs and the monumental gateways, the art and architecture of the Indian Medieval period are regarded as one of the most exquisite specimens of excellent craftsmanship and aesthetics.
However, a page from all the history textbooks perhaps, is what i want to focus on. The inlay technique and carvings on walls, pillarsand ceilings is what I find the most beautiful.

This is my attempt at studying the unparalleled inlay technique known as Pietra Dura (Italian) or Parchinkaari (Hindostani).

A Medieval Snowflake

Dimensions: 4"x4"
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Oil paint on canvas
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Abstract: The first time in the mountains is tricky thing- you go there with a heart full of excitement and this lust for adventure for a few days; you come back with the humble frames etched in your mind, with the beautiful Tibetan tunes still ringing in your ears, trying to feel the first ray of sun on your face in the morning, with your feet cold and warm, with this never ending desire to be back just one more time to absorb it all, even when you know it is impossible to do so, with this vacuum in your chest, this puzzle with a missing piece, trying so hard to complete it while being aware that only some places can help you do that.

One of my initial compositions while walking from Barshaini towards Tosh.

This is my first miniature painting

Euphoria

‘on the elephant path’ is a photographic correspondence between three artists: Jose Witteveen in Rome, Italy, Tessa Groenewoud in Gent, Belgium, and Ira Tattelman in Washington, DC.
Movement impacts the space around us, sometimes functional, intentional, or unplanned. An elephant path is an unofficial route made by people for ease of use, a way of travel in the constructed world based on a particular desire. People vote with their feet. Their interventions in urban space are the evidence of actions - short cuts, play spaces, or gathering spots. They are the lines we draw on the landscape.
With this practice, we metaphorically flatten the grass or cut through a hedge to find a direction that is unconcerned with a predetermined plan. This is a research project with curious threads or puzzling approaches. We are taking an informal expedition, a circuitous journey, following intuition and individual creativity, jumping over gaps and limitations. There may not be a destination but as we move freely from one location to another, we reveal something about our social, everyday life.
As photographers, we observe, respond to, and interpret the built surroundings. By taking pictures of the places we occupy, we make physical and emotional connections to the environments in which we live and travel. Our interactions and collaboration are a dialogue with and an examination of our environs. On this cluttered ground, we make decisions. We write our stories with our work, following unintended passages or capturing unexpected routes.
This correspondence also indicates a yearning to respond, give feedback, and engage with one another. It is important that no one prescribes our path. We recognize our desire to have a choice. 

on the elephant path

We host three residency programs a year, each lasting between 4 to 8 weeks. We also receive artists all year long to work in private studios for up to 6 months.  For each program, we select a group up to 10 international and local artists, curators and researchers. The group shares working spaces and participates in a number of activities as each one immerse in new or ongoing projects. 

During the program public presentations are organized and the residency culminates in an open studio which is an integral part of our program of exhibitions. The exhibition is open to the public for the last days of the residency, during which special visits and presentations are coordinated.  Each program have a guest curator who participates in the selection of the candidates, propose a concept or activities, follows each project, participate in the work meetings and the public presentations. Residents also have the assistance of both a production coordinator and the directors of the project. 

 The schedule of activities also includes visits to relevant art spaces in Buenos Aires and visits from other educational programs, artists, curators, and critics.

**Accommodation:**

The participants stay in private or shared rooms in our building.

**Workspace:**

400 square meters shared working space during the programs or private studio for longer visits.

  
Open Studio exhibition

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