Time out of (skeletal) Joint: The Spineless don't Protest
Medium: Copper leaf on paper
Size: 5ft x 5ft
This work is inspired by the massive cross-section of a 1300-year-old tree at the Natural History Museum in London. It is a time-line that works with Priyanka’s body and things that affect it like a diary. The rings in this work are of gilt copper to make the progress of time a visual, as the older layers oxidise green.
Size: 5ft x 5ft
This work is inspired by the massive cross-section of a 1300-year-old tree at the Natural History Museum in London. It is a time-line that works with Priyanka’s body and things that affect it like a diary. The rings in this work are of gilt copper to make the progress of time a visual, as the older layers oxidise green.
Time out of (skeletal) Joint: After Manaku
Medium: Gold leaf and gouache on wasli paper
Size: 36.5" x 52"
Hiraṇyagarbha (golden womb) is the source of the creation of universe or the manifested cosmos in Vedic philosophy and was painted by 18th century Pahari painter, Manaku, as a golden egg in a sea of infinite time where time is depicted as swirling rings in a tree trunk. This is a reimagining of that iconic painting.
Size: 36.5" x 52"
Hiraṇyagarbha (golden womb) is the source of the creation of universe or the manifested cosmos in Vedic philosophy and was painted by 18th century Pahari painter, Manaku, as a golden egg in a sea of infinite time where time is depicted as swirling rings in a tree trunk. This is a reimagining of that iconic painting.
Time out of (skeletal) Joint: The Spineless don't Protest—Considerations
Media: (Frame) Ink and pencil on paper; (Sculpture) Ceramic and newspaper wood
Size: (Frame) 21" x 15"; (Sculpture) variable
Size: (Frame) 21" x 15"; (Sculpture) variable
In their essay on disabled body-minds and political protest, artist Johanna Hedva asks, ‘How can you throw a brick through a window when you can’t get out of bed?’ These ink drawings are microscopic images of tree bark, cartilage, and bone cells with text transfers of considerations on time and the body’s political importance. The accompanying vertebrae ceramic sculptures are as fragile as the human spine, always prone to aching. Within them are cross-sections slices of newspaper-wood made by tightly rolling newspapers from Jan to March 2020, that cover the JNU and Jamia university attacks, the Shaheen Bagh sit-ins, Delhi pogrom, to the start of the pandemic, as a news archive that becomes ‘inaccessible’ and questionable bearers of ‘truth’.
