The personal is political but it’s biological and psychic too. If we don’t have this broad classification are we more than human? Aren’t we?
Virus, Fungi, Flesh. Why it’s personal? is a title given to a series of self-portraits that depict the photographic imagination of the artist's state of mind, state of body, state of (body)-(mind), state of (mind)-(body).
In this introductory ephemera artist depicts the chronic disease which they suffered from in their earliest memory; pain, body fluid, blood, scars, traces of bedridden days and its associated trauma, mental health, and so on by birth error. Here the artist appropriates the condition/situation with woods of dead trees and plants as a way of healing and acceptance.
Recognizing this battle with the flesh and the individual self amplifies the autonomy of the flesh preceding body, the absurd living matters/consciousness it contains. Where does life belong? Is it life in the flesh or the mind? Or is it somewhere else? These questions within questions are not mere existentialist dogma, but spiritual insight, which provides experiences of more than human nature that make us function. In these circumstances, the growth is a misfortune. But then what about growth after death? / Death is the disposal of our flesh in different fragments. Where do we refuge in a state of NO FLESH? Do we seek another flesh-body? Or do we refuse the state of possessed to a particular identifiable flesh? And stay anonymous to the ever-restricting, judgemental, and racialized civil society?
Fractions of moments, dead, depreciated, frozen, disabled, invisible we are altogether of this innumerable things which we cannot control. Finding relations in nature is being intimate with nature. In solitary emancipation, in deep sensing, narture allows mutual care.
My skin condition is not simply a barrier to be overcome or ignored; it is a fundamental aspect of my identity that shapes the way i interact with the world.
These photographs helped me to generate new meaning and significance. It helps me to recognize the vulnerable, exposed, or even damaged, but also resilient, strong, and subtle life I carry. Forsee the never-ending dialogues between one’s own accumulated flesh and the mysterious existence we often identify beyond its paradigms. Tap into emotions and experiences that I may not have fully understood before, and discover new aspects of my identity that have been shaped by my skin condition. It transforms a source of physical and emotional pain into a means of connection and understanding, both for me and for others who may be struggling with similar challenges. These complex and nuanced dynamics in a way that is both creative and deeply personal. To paraphrase Albert Camus, "The revolt of the flesh is the absurd".
Viruses, fungi, flesh. Why it’s personal? 2019 - 2023
Zen of Discomfort, 2023
As a philosophical approach to discomfort, I drew on Zen Buddhist mindfulness principles and acceptance of suffering. "Zen" refers to a state of meditation and awareness, while "discomfort" implies a focus on the challenges of existence. The Zen of Discomfort explores the spiritual and psychological dimensions of discomfort caused by chronic eczema, which has recently resulted in ear tinnitus.
Indifferent sense, 2022.
The 21 Grams, 2022.
Sea of Distress, 2021.
End of a Monument, 2021.
Edible Forbidden, 2021.
Divine Inconscience, 2021.
With the rise of social media and online platforms, there has been an increase in the desire for people to capture photographs of themselves that emulate the images they see in magazines or other professional sources.
Part of this desire can stem from social pressure to present oneself in a certain way, with images being a key component of personal branding and self-presentation. Magazine images, in particular, are often seen as aspirational and depict a certain level of beauty or glamour that people to capture high-quality images of themselves, allowing them to control the lighting, angles, and other factors that contribute to a more professional-looking photograph. Overall, the desire to photograph oneself like magazine images can be seen as a reflection of our changing social and technological landscape, as well as our best selves to the world.
In the titled work Devine Inconscience artist is here trying to create a third image of this trend., By doing so accelerating the courage to move away from it.