SAREENA ​KHEMKA

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

mixed media painting on paper by sareena khemka The God Complex, Mixed Media on Paper, 5 Ft. x 5 Ft. Mumbai 2013 The God Complex Mixed media on paper. 5ft. x 5ft. Mumbai 2013. The God Complex Detail 1 The God Complex Detail 2 THE GOD COMPLEX Based on a map of Mumbai, this works is inspired by the satirical maps printed during the World War in Europe. The works depicts a dichotomy between filth & glitz, with the man in the suit & cape being a symbol of power, wealth & strength. Subverting the idea of what a 21st century superhero may represent in a growing urbanisation , the work refers to an iconic and infamous piece of architecture of Mumbai, weaving a narrative of a city with stark contradictions, abstracting and layering materials using drawn and painted images of architectural forms and organic decay.

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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.

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.

abstract drawings on paper by sareena khemka In Between Solid & Liquid Mixed media on paper 38" x 28" Mumbai 2011 All material things melt Mixed Media on paper 38" x 28" Mumbai 2011 Where all darkness resides Mixed media on paper 38" x 28" Mumbai 2011 Untitled (1) Mixed Media on Paper 23" x 20" Mumbai 2011 ALL MATERIAL THINGS MELT An urban environment is always in a constant state of ‘decay ,’ where all material forms eventually disintegrates, deform and fuse into these unrecognisable organic forms of matter. This is visible particularly in densely packed metropolitan cities of India. The imagery in these works in drawn form studies of piles of decay from dump sites and the state that is between the process of something disintegrating and deforming depicted through layers of drawing and collage. In the case of the last two images in this series where there are human forms immersed within these spaces, the works represent the darkness of living in these kind of apocalyptic spaces and the nature of these landscapes.

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

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

sareena khemka biography RESUME EDUCATION Bachelor of Fine Arts 2007 The School of the Art Institute of Chicago, U.S.A & 2004 Kala Bhavan, Visva Bharati Univ. Santiniketan, India 2006 Painting & Drawing Studio, International School of Painting, Drawing & Sculpture, Umbria, Italy 2001- '02 Painting & Drawing Studio, Triveni Kala Sangam, New Delhi, India EXHIBITIONS 2019 ‘Future Foundations: Time & Space ,’ Immersive installation, Walk-in Studio, Bangalore, India 2018 ‘Art Exhibit ’, India Story, Kolkata, India 2018 ‘Build & Grow ,’ Urban art & science lab & sculptural installation, Bangalore Design week, India 2017 'Once Upon a time in Black & White ,' Art Centrix Space, New Delhi, India 2016 ‘Introspective Revelation s,’ Gallery Veda, Chennai, India 2016 ‘Scape & Scope ,’ Tao Art Gallery, Mumbai, India 2015 India Art Fair Co - Lateral Show, Art Konsult, New Delhi, India, India 2014 ‘Mapping Detours ,’ Chitrakoot Art Gallery, Kolkata, India (group show) 2012 ‘Allegories’ , Art Konsult, New Delhi, India (group show) 2010 SAARC Art Show, Tarayana Art Center & Centennial Hall, Thimpu, Bhutan (group show) 2007 Undergraduate Exhibition, G2 Gallery, School of the Art Institute of Chicago, U.S.A (group show) 2006 ‘Cities Apart ,’ Genesis Art Gallery, Calcutta, India (solo show) 2006 Student Show, International School of Drawing, Painting & Sculpture, Italy (group show) FAIRS/ FESTIVALS/AUCTION 2015 Art & Deal inaugural auction, Metropolitan hotel, New Delhi, India 2014 Art Bengaluru, Bangalore, India 2014 ‘Deep Skin: Skin Deep ,’ curated by Mayank Mansigh Kaul, Art Chennai, India 2013 United Art Fair, curated by Peter Nagy, Pragati Maidan, New Delhi, India 2012 'The Human Spill, ' (sculptural installation) Kala Ghoda Arts Festival, Mumbai, India RESIDENCY/ART CAMP 2016 Piramal Art Residency, Mumbai, India 2013 Space 118, Mumbai, India 2010 Space 118, Mumbai, India 2011-12 Space 118, Mumbai, India 2010 SAARC Art Camp, Tarayana Art Center, Thimpu, Bhutan 2010 - present 2010 - present

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