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Silent Waters Installation
United States
Installation, Wax on Ceramic
Size: 300 W x 12 H x 300 D in
About The Artwork
Note: This project was acquired by the Weismann Art Museum in 2015. Please contact me for prints of the installation. This installation is a mobile memorial that acknowledges and memorializes the experience of ethnic violence. This site-specific installation is comprised of 101 larger-than-life-scale ceramic feet glazed black inside and out and covered with wax. Feet are a particularly androgynous fragment of the human body and here they acknowledge the male body also as a site of violence. I believe that representations of violence are difficult and problematic to say the least. Therefore, I feel that any kind of monument or memorializing ritual for such an abject issue would have to be multiplicitous, fragmented, temporary and peripatetic. The feet are filled with salt water to serve as a surrogate for the absent defiled bodies. The water evaporates and leaves a crystalline residue of the salt. Water also has a ritualistic and ceremonial role in the funerary rites of Hindu, Muslim, and Sikh communities. Therefore, in this installation, I gesture towards the presence and role of water with a minimalist sound installation that comprises of the sounds of rain, running feet, and a body falling into water, playing in a loop. Why 101 feet? In India, it is considered auspicious to make offerings of money in the amounts of 11, 21, 51, 101, 501 and so on in temples. Therefore, 101 feet is a symbolic number to make a memorial offering to the women and men who were brutalized in the Partition riots. Please visit https://pritikachowdhry.com/silent-waters/ for more images of this project.
Details & Dimensions
Installation:Wax on Ceramic
Original:One-of-a-kind Artwork
Size:300 W x 12 H x 300 D in
Frame:Not Framed
Ready to Hang:No
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United States
I explore cultural forms of memory and representations of historical trauma. Transnational in scope, my current work is informed by border-related violence that have occurred in different parts of the world. I seek to connect seemingly disparate geopolitical contexts, because I believe that it is important to bring bridges into being even when it seems untenable to do so. Collective memory of communities and nations provides the viscera with which I build these bridges in my work. Installed in experiential environments, these large-scale sculptures and site-sensitive installations reference the body and function as mobile and temporary memorials. I think of my works as “memory sculptures”, an eloquent term coined by cultural scholar, Andreas Huyssen. As an interdisciplinary artist, I migrate between fibers, paper, clay, paint, drawing, and photography. My studio practice is informed equally by material sensibilities as well as current cultural discourses of diaspora and migration, post-colonial theory, and feminist and queer theory. This eclecticism anchors my art practice and my understanding of the worlds I inhabit.
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