VIEW IN MY ROOM
United States
Photography, Digital on Paper
Size: 96 W x 72 H x 2 D in
Ships in a Tube
This is an ongoing site-specific, research-based art project that interrogates the role of public monuments in the formation of collective memory. The first phase of this project, which is presented here, was conducted in South Asia at monuments in Pakistan, Bangladesh, and India, in the wake of the Partitions of 1947 and 1971. The primary sites of my research are the Jallianwallan Bagh memorial in Punjab, India; the Minar-e-Pakistan memorial, in Lahore, Pakistan; and the Shaheed Minar, in Dhaka, Bangladesh. In addition, certain historical objects from these years have also been included in this project as objects of memory. These relational sites of memory are architectural palimpsests where memories of multiple events have sedimented over time. This project investigates how collective memories of the partitions of 1947 and 1971 are made legible or erased through these monuments, and if these monuments can be triangulated to function as a “memory triad” that connects as well as exceeds their individual historical contexts. Latex and silicone casts of sections of the monuments such as stairs, walls, doors, niches, and ornaments, capture details and textures of intimate spaces within the larger architecture. The skin-like materials make the “body” of the monument accessible in a corporeal manner. I think of these casts as the “skin” of the monuments which reveal every mark, stain, and blemish that has accumulated on its surfaces since it was constructed. The individual panels are not didactically identified with a particular monument since they are now dislodged from their original geographical context. This installation attempts a metaphoric triangulation of the three sites of memory by juxtaposing the corporeal remains of these monuments, and bridging the geographical and political disconnect between these monuments and the countries in which they exist. Please visit https://www.pritikachowdhry.com/broken-column for more images of this work.
Multi-paneled Photography:Digital on Paper
Original:One-of-a-kind Artwork
Size:96 W x 72 H x 2 D in
Number of Panels:2
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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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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