The breakdown of structure allows for the emergence of other forms of
communication, not bound by logic or plan, but potent in their sensorial impact.
We are aware that this is very much a part of the creative process, but the
urge to control hovers around all open spaces, places, systems and thought,
eventually blocking the flow of life. Studies for Chaos: Still Life, Interior,
Landscape, Still Life is a cluster/installation of paintings that takes a
closer look at the edge between sanity and psychosis, control and chaos - and
the thresholds that we inhabit to find those limits.

Painting, as it spread beyond the parameters of religious iconography, was
broadly classified under three
categories - Still Life, Interior and
Landscape. Still, they represent a world that was within physical reach – and
as my own work remains close to the experiential, I explore these categories to
understand how changing perceptions activated by technology are absorbed into
the language of painting. The clusters that
I work with are akin to cinematic montage, and set up a temporal polylogue at
the level of form as well as content.

‘Studies for Chaos: Interior, Landscape, Still Life’ is composed around a
sculpture by Valsan Kolleri - a clay bowl with soap bubbles - which is central
to the group. Together with the termite infested laptop, it refers to the premise
of the Still Life, but the bubbles spread through the Interior and eventually
obscure the Landscape.

The laptop echoes the interior architecture of the first panel. They
represent two kinds of virtual windows – both equally subject to entropy, and
the dissolution of all demarcations - including hierarchies.

In attempting to understand that space of reduced visibility or
whiteout, the scattered brush marks that emerge contain within them the seeds
of structure, and of the pixel – the horizontal, the vertical, and the diagonal.

Beyond the grasp of structure, there is the numen, two letters in gold
at the heart of the void.