A wispy, translucent layer of skin shed by a snake is suggestive of its once presence there. These empty and static remnants indicate its owner’s movement through time and space. My existing body of work builds upon notions of impermanence; every passing moment is a death in itself. Mundane and robust, domestic objects are casted in permeable, flimsy and diaphanous polyester fibers, symbolic to the molted remains of skin shed by a snake, or perhaps any other living being that goes through the similar process of molting. This acts as a metaphor for how strength and durability too have to succumb to transience and inevitable change, focusing more on what is left behind in this course of metamorphosis.
These ghostly ‘remains’ of tough objects belonging within domestic spaces direct towards mortality and ironically the constant unstoppable flow of time, moreover a subtle reminder pointing towards how fragile and short-lived life and its moments really are. They delicately reminisce the past, yearning their existence within a particular time and space, some of the objects belonging to my very own personal space, bearing history of interaction.
Despite surpassing human caliber in terms of strength, a heavy metallic swing with powerful chains, or a path of concrete ‘tough’ tiles upon which one may tread heedlessly is transformed completely against its nature of functioning as a support system, into unapproachable delicacy. The casts having an ethereal presence and are reachable and unreachable simultaneously, creating an urge to be utilized despite being dysfunctional. My work further reflects upon the relation between the animate and inanimate, juxtaposing two parallels to explore the dimensions between both, particularly using the idea of skin, the outer most organic layer, in conjunction with lifeless static objects.
