Art: Sneha Subramanian Kanta

March 21, 2017 ART/PHOTOGRAPHY


Art assumes many forms that diverge and derail the modus operandi of things. The representations that these pieces signify is the inverted materialization of objects that are considered waste.

The world pays much attention to the physical and the material self with a manufactured interiority. These pieces argue and cross-examine the conditioning that operates on a psychological level. The functionality of the mind and body dualism are linked in a juxtaposition of the immediacy of experience. One passes through so-inferred waste at all hours of the day. The combination of their presences take root to culminate in meaning that is often overlooked.

Renaissance is one of the anvils upon which our sense of perception relies. These pieces seek to evoke and re-examine everything we are taught to think. The variations transcend from the incorporation of rudimentary, often ignored materials that form the base for everything in between. The key focus is on material things that have been a part of subaltern existences without utterance. Scraps of lined paper, burnt cloth and paper and soiled paper currency notes, all form an integral part of the process. The pieces seek to look from the public sphere into a private colony of thoughts. There is utilitarian value in knowledge and reflection, without the source being of matter, quite literally.






















Sneha Subramanian Kanta

Sneha Subramanian Kanta finds credence in non-linear forms of looking. Avant-garde art, untold stories and tales of refugees are matters close to her heart. Her work is forthcoming in Cultural Kapital Magazine, EPIZOOTICS, Serendipity, Erstwhile Magazine, Otoliths, and most recently the first print anthology of Peacock Journal and elsewhere. She is a GREAT scholarship awardee, pursuing her second postgraduate degree in literature in England. She believes in forms of dissents and uprisings, renaissance, handwritten letters, philosophy and the word et cetera.


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