Installation: tube lights, metal, wood and text
Hold yourself as if you were a writing instrument.
Of symmetry.
The handle is 3–4 cm away from where the blade meets the handle.
The metal meets wood at an angle that begs replacement.
To distill.
Pause.
Are your arms supported to help maintain the position of your trunk and shoulders?
To simplify
Are your shoulders back? Is your back straight?
Of symmetry?
Pull yourself up from the top of your head chin up the top of your head higher even
higher the very top of your head loses its shape it lengthens and comes out of your
head it is light the light is bright so you walk around.
This is a container containing you.
Of tides.
It stands still you move.
Of refraction
The tissue is under some tension.
Push down on the skin, spread it apart, and make the skin taut.
Take a deep breath dropping your hips, think of lifting your hips back up rotate your back twice thrice pushing down with just enough pressure to cut through the skin.
You do not have to go exactly to the proper depth with the first cut.
Pivot fully around your axis bring your legs together.
Of context.
Can you see the form?
Of layering.
It is better to be too timid than too forceful.
You know exactly where you are but this isn’t always clear to you.
To impress I To smear.
You reach the opposite vertical wall your mind faces the wall at these moments the self
has to be reconstructed.
Of carbonization.
You force yourself to remember.
To continue.
But if you use too much force, you may penetrate too deeply into the tissues and
accidentally cut an important structure.
My Color on Your Plate, curated by Subodh Gupta for Serendipity Arts Festival, 2018
