An inebriated state is one of unawareness, when inhibitions are dulled into misty ambiguity. Yet, alongside this un-sharpening of the edges, the drunk is well conscious of and acknowledges being in this state. It is a strange duality of being not wholly conscious at some level and being conscious of this level of non-consciousness.

‘Romanticized Objects from Drunken Nights’ are a collection of objects that sometimes carry undertones of this dual state of mind, a state that is utterly fluid and constantly moving back and forth from one to the other. The various inherent values – historic or ascribed – of the materials used interact with and respond to each other. The ensuing conflicts – as finished works or as the sum of the parts of materials + their many meanings give rise to something new – the whole show itself.

The additional baggage that materials imbibe from these inter-relationships layers upon them a quality that is opaque, ambiguous and fluid. And in doing so, they come full circle to reflect the duality of awareness that inebriation causes. In the making of geometrical shapes that require precise, perfect measurements, there is a sense of redemption for being in this suspended state of mind. It is certainly not an apology, only a frank acknowledgement. In the romance that is invariably assigned to this dreamlike state, the materials begin to be often re-imagined, recreated, re-birthed and excessively romanticized.

Lie of sea and sky, Pigment on natural gesso panel (6 panels), Variable dimensions, 2016

Lie of sea and sky, Detail 

Lie of sea and sky, Detail

Lie of sea and sky, Detail

Lie of sea and sky, Detail 

 

Remembered and hidden memories, Black Granite, terracotta brick, wood, Iron, concrete brick, laterite stone, iron oxide and white cement, Variable dimensions, 2016

Remembered and hidden memories,  (installation view)

Remembered and hidden memories,  (installation view)

Remembered and hidden memories, Detail

Remembered and hidden memories, Detail

Remembered and hidden memories, Detail

We love the floor but didn’t own the land, Concrete, red iron oxide, white cement, plywood, 84in x 58, 26in x 51in diameter, 2016      

We love the floor but didn’t own the land, Detail

We love the floor but didn’t own the land, (installation view)

We love the floor but didn’t own the land, (installation view)

 

495 horizontal lines from 421 vertical lines, Jute rice sack, 43 in x 36 in, 36 in x 4 in x 4in, 2016

495 horizontal lines from 421 vertical lines, Detail

495 horizontal lines from 421 vertical lines, (installation view)

 

Possibility of impossible meeting of two unknown flames, Brass, cotton wick, sesame oil,15in x 1.5in x 2.5in, 2016

Possibility of impossible meeting of two unknown flames, Detail

Possibility of impossible meeting of two unknown flames, (installation view)

 

Sky, Reclaimed wood, stained glass, 128in x 36in x 5in, 2016

Sky, Detail

Sky, (installation view)

 

16 Earth, (installation view)

16 Earth, (installation view)

16 Earth, (installation view)

 

16 Earth (yellow), Earth pigments on natural gesso panel, 85in x 36in, 2016

 

16 Earth (green), Earth pigments on natural gesso panel, 85in x 36in, 2016

16 Earth (red), Earth pigments on natural gesso panel, 85in x 36in, 2016

16 Earth (red), Detail 

 

Your tears are saltier than sweat, Beeswax, 62in x 12in x 4 in, 2016

Your tears are saltier than sweat, Detail 

Your tears are saltier than sweat,Detail 

Your tears are saltier than sweat, (installation view)

Your tears are saltier than sweat, (installation view)

Pleasurable frustration and struggle with modernity, Reclaimed wood, 70in x 4in x 5in, 2016

Pleasurable frustration and struggle with modernity, Detail

Pleasurable frustration and struggle with modernity, Detail

Pleasurable frustration and struggle with modernity, (installation view)

Sun meeting the moon in a corner or half cut black circle and half cut white circle in darkness, Pigment and Arabic gum on paper, 60in x 60in, 2016

Sun meeting the moon in a corner or half cut black circle and half cut white circle in darkness, (installation view)

 

Irreversible stillness of reversibility, Terracotta, 24in x 7in x 12 in (each ), 2016

 

Irreversible stillness of reversibility, Detail