ABOUT

When I think about what I’m making, I don’t just see a single tradition behind it. I’m pulling from a bunch of different worlds at once: trippy experimental club visuals you might catch at 2 a.m.; the history of Indian painted photographs, the hacked, half-illegal poster edits that transform your subway commute; the wheat-pasted event flyers slowly dissolving into the brick and plywood until they feel like part of the city’s skin. I’m really drawn to that in-between space, where an image can be weirdly intimate with us because of its damage, because it documents the passage of time and that makes it somehow almost an offering to the city.

The work is colored by two places and two time periods that formed me and haunt me: midcentury India and New York in the ’80s. Two moods that sit next to each other — one utopian, one elegiac. The pieces are tracking what images actually do out in the world: how they get taped up, ripped down, repainted, photocopied, projected —how, if someone cares about them enough, they can be loved into becoming something else.