A large stencil that encompasses squares of different sizes. If overlaid on a single plane, with their centers coinciding, the squares behave like enclosures. It is delusory to see an escape from within Enclosure A to Enclosure B and so on. These enclosures per-form as fields and one doesn’t know whether one is moving in or moving out. The mode of what it means to be public is a mental construct wherein the idea of center, symmetry and hierarchy gets further reinstated. The paradoxical nature of contemporary art is reflected in its secret powers. Escape from one enclosure brings one to yet another enclosure, or to the field of the stencil. There is no escape. What if the stencil consists of different shapes of the same size? When traced with the same concentric logic, these shapes obviously overlap, doodle, and behave in a way that confuses the notion of the boundary or the border. This situation empowers one to question the authority that frames an interior for its own purpose. If the identity of the boundary or the border drops, the image flattens into the childlike scribbles of Paul Klee, puzzles remain unsolved and objects are left de-objectified. This disruption is what the accused artist considers conceptual, wherein individuals exit their fields and withdraw into the outside.The object’s center shifts and not only its image but also its material limits, its past associations and its present context get destroyed.
STUDENTS: Pranav Vishwanath, Sarabhi Ravichandran, Avani Babar, Hansel Homem, Sirjana Kaur, Lakshmi Kakodkar, Riya Gupte, Maitreyee Kshirsagar, Saumeel Sondur, Sharanya Ajmani, Milauni Shodhan, Rajat Khurana, Rwit Ghosh, Somya Garg, Vidushee Jajoo, Swarnima Bavadeep
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