portfolio of artworks by contemporary artist, sareenak Eloquent Litte Things On The Persistence Of Memory Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Search videos Search video... Now Playing talkpart1 - SD 480p 29:59 Play Video Now Playing talkpart2 - SD 480p 29:59 Play Video Now Playing talkpart3 - SD 480p 23:48 Play Video ( Go to the next page to see the last video, where the artists are introducing there work in a walkthrough ). The Floor Keeps Count A solo show by Sareena Khemka This event marked the closing of Sareena Khemka’s solo exhibition The Floor Keeps Count, curated by Adwait. The teatime conversation brought together Ananya Gautam ( Visual Artist ), Dr. Ishita Dey ( Sociologist ), and Sareena Khemka ( Visual Artist ), moderated by Anshika Varma ( Artist & Curator ). Held on Saturday, 7 March at Exhibit 320, New Delhi, the discussion engaged with multiple dimensions of memory, drawing into productive tension—and occasional convergence—diverse artistic and analytical approaches to its conservation and reconstruction. The exchange reflected on themes such as sensory labour, maternal bonds, the emotional economy of caregiving, the nature of grief, notions of inheritance, and the afterlife of objects that once functioned as coordinates within a personal web of meaning. . Between The Nooks & Crannies (Detail View) Mixed media on paper, 48" x 36", 2020 Click here to see Full Image

remnants1front_1 remnants1leftangle_2 remnants1leftangle_7 remnants1topangle_medres Relics of the past 1 & 2 are small casted sections from a larger architectural capital, remnants of decayed objects that have lived on in this sculptural form resembling a decayed organic form that may have grown and morphed over a period of time like an old piece of architecture that lies exposed to nature and the elements . It bears the nostalgia of the past, yet is preserved in time. The two stone pieces titled 'Mining the Earth's Mantle,' are casted from moulds of construction stones that are used in buildings. The idea of representing these building materials as pieces of the earths crust and preserving them as relics, subverts the very idea of a relic and questions what is important to preserve and more importantly what is left to do so in the current 21st century of building and rebuilding cities where everything is temporal and in modes of re- construction. Remnants remnants2front_1 remnants2_sideangle_medres remnants2bottomleftangle_4

paintings by sareena khemka 8Th Island of Mumbai Discriminates 12 Ft x 4 Ft Triptych, Mixed media on Canvas, Mumbai 2014 The 8th Island Detail 1 Panel 1 of 3 4ft x 4 ft The 8th Island Detail 2 Panel 2 of 3, 4 Ft x 4 Ft The 8th Island Detail 3 Panel 3 of 3, 4 Ft x 4 Ft Elevated Within Lost Foundations Mixed Media on Canvas 38" x 28" x 2," Mumbai 2014 Elevated Within lost Foundations Detail 1 875 Square Inches of the City Mixed Media on Canvas 38" x 28" x 2," Mumbai 2014 Gates to Heaven Mixed media on canvas 5ft x 3ft x 2," Mumbai 2014 Gates to Heaven Detail Mapping the terrain 1 Drawing on old stamp paper from Rajasthan with found text (dated approx. 125 years old) 14" x 9" 2013 Mapping the Terrain 3 Mixed media on an old map of India. 16" x 10," Mumbai 2013 Mapping the Terrain 5 Mixed media on Nepalese paper, 15" x 11," Mumbai 2014 THE 8TH ISLAND OF MUMBAI DISCRIMINATES These series of works based on Bombay, tell narratives of a city through its architectural history, following a similar colour palette of browns, greys, copper, blue & white. The blue shapes & colour represent the slums, being synonymous with the tarp covers that make the roofs of the slum housing. Specs of orange painted in some of the works are symbolic of the political influence in the city. Several of the works such as 'Gates to Heaven' and 'The 8th Island Discriminates,' are a comment on the gated communities that lure people with tag lines such as "Reside in new heights of happiness". Being self-sufficient like small kingdoms they hide the poverty, disparity and filth that surrounds them and promise a better life. A few of the works such as 'Elevated within new foundations,' and '875 square inches of the city,' reference old and new architecture with geometric lines, patterns and shapes interconnecting to reflect an urban space. Motifs and patterns of Indian design are block printed and painted on contrasted with contemporary designs that reflect the rich culture of the country and my biography as an artist, with the series of works such as 'mapping the terrain,' created on old maps and stamp paper.

Between the nooks & crannies Mixed media drawing on paper. 9 panel 16" x 12" each Total size 48" x 36" approx. 2020 Between the nooks & crannies (panel 1) 16" x 12" Between the nooks & crannies (panel 2) 16" x 12" Between the nooks & crannies (panel 3) 16" x 12" Between the nooks & crannies (panel 4) 16" x 12" Between the nooks & crannies (panel 5) 16" x 12" Between the nooks & crannies (panel 6) 16" x 12" Between the nooks & crannies (panel 7) 16" x 12" Between the nooks & crannies (panel 8) 16" x 12" Between the nooks & crannies (panel 9) 16" x 12" The work draws on the process of deep mapping using imagery from memory and imagination of aerial maps from dense urban cities such as Bombay, interspersed with imagery of natural rock crystals to create a dichotomous space. Drawing the space was akin to navigating the streets, through its nooks and crannies of various turns and bends, where one needs to delve further and lose oneself, much like one would, navigating the city. Making the work was as much a process of navigating metaphysical spaces within the mind as it was visualizing physical ones. Between The Nooks & Crannies

landscapeofloss landscapeoflossanddecay_detail4 liminalscapes1-detail3 landscapeoflossanddecay_detail2 landscapeoflossanddecay_detail3 Landscape of Loss Avenir Light is a clean and stylish font favored by designers. It's easy on the eyes and a great go-to font for titles, paragraphs & more. liminalscapes1 liminalscapes1-detail2 Describe your image liminalscapes1-detail1 Describe your image liminalscapes1 1/3 Liminal Scapes liminalscapes2 liminalscapes2-detail1 Describe your image liminalscapes2-detail2 Describe your image liminalscapes2 1/4 The work draws on the process of deep mapping using imagery from memory and imagination of aerial maps from dense urban cities such as Bombay, interspersed with imagery of natural rock crystals to create a dichotomous space. Drawing the space was akin to navigating the streets, through its nooks and crannies of various turns and bends, where one needs to delve further and lose oneself, much like one would, navigating the city. Making the work was as much a process of navigating metaphysical spaces within the mind as it was visualizing physical ones. In between the Cracks & Fissures faultlines_2 faultlines_2b faultlines1 copy faultlinesdetail1 faultlines1detail

Relics Of The Past (1) Left View, Naturally lit. Cast resin, cement, ink & metal dust, 9” x 7” x 5” (Bangalore, 2018) Relics Of The Past (1) Right View Relics Of The Past (1) Top Angle Relics Of The Past (1) Bottom Angle Relics of the past (2) Left View, Naturally lit. Cast resin, ink & metal dust, 7” x 5” x 4” (Bangalore, 2018) Relics of the past (2) Right View Relics of the past (2) Side Angle Relics Of The Past (2) Bottom Angle Mining The Earth’s Mantle (1) Natural Lit, Cast resin, ink & metal dust, 10”x 5” x 3” (Bangalore, 2018) Mining The Earth’s Mantle (1) Top View Mining The Earth’s Mantle (1) Detail Image Mining The Earth’s Mantle (2) Naturally lit, Resin & ink 9” x 5” x 4” (Bangalore, 2018) Relics of the past 1 & 2 are small casted sections from a larger architectural capital, remnants of decayed objects that have lived on in this sculptural form resembling a decayed organic form that may have grown and morphed over a period of time like an old piece of architecture that lies exposed to nature and the elements . It bears the nostalgia of the past, yet is preserved in time. The two stone pieces titled 'Mining the Earth's Mantle,' are casted from moulds of construction stones that are used in buildings. The idea of representing these building materials as pieces of the earths crust and preserving them as relics, subverts the very idea of a relic and questions what is important to preserve and more importantly what is left to do so in the current 21st century of building and rebuilding cities where everything is temporal and in modes of re- construction. Relics Of The Past

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My Portfolio Welcome to my portfolio. Here you’ll find a selection of my work. Explore my projects to learn more about what I do.

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sareena khemka's artworks Sareena Khemka’s current practice explores urban spaces through dichotomous ideas of construction and destruction, preservation and regeneration, man-made and organic environments, creating transformative spaces and objects that recall historical ruins and geological formations that have the potential for material evolution. Mapping cityscapes through narratives of its past and the future, her preoccupation with building a research-based practice on the subject has led her to work with several mediums that started with drawing and now includes sculpture, found object, sound and light, merging science and technology into her creative process. Having lived in several large metropolitan cities such as Chicago, Kolkata, Bombay & Bangalore, she is drawn towards the architecture of spaces and its contradictory nature. Through her new works, the artist questions the permanence and temporality of urban spaces, in using objects from the city that are going through forms of ruination and decay by preserving or regenerating them as well as building new ones that resemble modern ruins. From casting remnants of old architectural capitals that will decay over time and creating relics of its parts, to stones of construction rocks that lie in heaps all over the city, resembling the earth’s crust, her works call on the urgency of preservation while reforming the status of relics, moving beyond nostalgia and despair of lost heritage, re- imagining them as seeds of a new kind of modernity. Khemka’s fascination with rock crystals began In Mumbai where they were commonly being sold on street corners that reminded her of a microcosm of urban colonies forming specific patterns of organised chaos; they exist against all odds in the midst of cities as fragments of a landscape that was, or a future of what could be, like fossils or the rings of a tree. They emphasise the tumultuous relationship between man-made spaces and what we hold precious to those found in nature. Inspired by those crystals, these fragile environments came into being with Copper Sulphate and alum crystals grown in various shapes and sizes, preserved in resin onto the sculptural surfaces. Bacteria like rock crystals are microscopic in nature yet have the ability to significantly alter the materiality of a surface; In collaboration with a scientist, bacterial culture has been sampled from the air as well as objects like rusted metal, cement tiles etc., preserved in resin to see how all of these materials interact with each other and change when placed in different environments and temperature changes in the atmosphere, altering the colour of the objects and perhaps even bringing out new forms of growth over time, allowing an evolutionary process to some of the works. After a year-long investigation into these various material and growth processes, drawing that forms the foundation of the artists process has now started to seep onto all the sculptural forms growing and spreading like a decaying organism on these built broken environments, creating fragmented landscapes. The artist’s earlier drawings mapped this disorder and chaos of urbanised cities by connecting three-dimensional objects and forms with these geological rock crystals and decaying organic matter, flattening them into intricate patterns and networks. Her current works stem from the same ideas, progressing into a more immersive practice, where Sareena builds layers of complex and unforgiving materials to create intricate forms that come together in a versatile manner that calls for speculation and reflection. ARTIST'S STATEMENT

Fragmented Landscapes Mixed media drawing on casted cement, terracotta tiles and natural stone. 6 Ft. x 2.5 Ft. approx. Variable Sizes. ( Bangalore 2019 ) Fragmented Landscapes Mixed media drawing on casted cement, terracotta tiles and natural stone. 6 Ft. x 2.5 Ft. approx. Variable Sizes. ( Bangalore 2019 ) 1/1 Constructed, broken and re-constructed spaces come together in this puzzle like form of 3-dimensional sculptural drawings. This work reflects the landscape of an urban city that is constantly building, reshaping and joined together similar to a map when seen from a distance forming a network of connected structures using asymmetrical shapes, depicting an ordered chaos. The organic drawings flowing across the stones are derived from studies of decay and are interspersed with shimmering colours of copper that seeps into many of the works representing the contradictory relationship between lustrous new facades that degenerate and transform overtime in urbanised cities. Using casted stones of cement contrasted with terracotta floor tiles used in houses , this work represents the fragility of these built environments. Fragmented Landscapes Fragmented Lanscapes Installation Video Fragmented Landscapes Detail 1 Left to right View Fragmented Landscapes Detail 2 Front view Fragmented Landscapes Detail 12 Fragmented Landscapes Detail 1 Left to right View 1/12 Fragmented Landscapes: Detail Images (Slide to see more) Click on the image to enlarge and know more.

Excavating Dust, Debris & Desolation 31” X 8” X 7” Mixed Media Sculptural Installation (lit image) Bangalore 2018 Excavating Dust Debris & Desolation Mock image of site specific installation. Maximum Size : 10 Ft. x 10 Ft. Excavating Dust, Debris & Desolation Naturally Lit Excavating Dust, Debris & Desolation Front & back view Excavating Dust, Debris & Desolation Detail 1 of led lighting the resin Excavating Dust, Debris & Desolation Detail 2 Excavating Dust, Debris & Desolation Detail 3 Casted from a section of an old capital sourced from a demolisher, this piece that was originally made in wood and hand carved was covered in layers of synthetic paint, in a state of decay eaten by termites when found, belonging perhaps to an old house in Bangalore. Reminiscent of old architecture, heritage and craftsmen-ship, this piece draws upon the nostalgia of that history and transforms it into an object that belongs in the future, by preserving and regenerating it. As a site-specific installation it would resemble an excavation site with components of crumbling pillars and parts of the same piece cast in resin and cement that glow and shimmer hidden within mounds of silica and metal dust that form the debris. Having a element of discovery and mystery attached to the unearthing this contemporary relic, the work is presented as an archeological site of the future, elevating the piece and gives it a new narrative of a contemporary relic. Excavating dust, debris & desolation Excavating Dust : Detail of light emitting from sculpture seen from two different angles.