Dust and My finger nails, a part of the archive of dust
Supriyo's Project Statement: 'Sound of Dust’ An ongoing site-specific investigation induced me to navigate dust as a lost part of our body, residues of our memory, and ingredients of our micro-history. Here, cleaning isn’t a process to alienate the remnants, but to collect the fragments of our past. Cleaning is caring.
The site is my last home, which was on the verge of demolition. What is the process of death for a non-human entity like home? ......................................
1BHK Mindscape, blueprint on paper, 4”x6”
When I was still trying to understand, how does a home die? I realised that the demolition of a house is the final ritual of ‘Antyesti’, a sanskrit word that means the last rite of passage. The process of Antyesti starts with the cleansing of the deceased. Here, the process of cleansing gives a person the chance to caress the body of their loved one for the last time. Cleaning is caressing. Do we reach closer to the skin as we clean the layer of dust?
In the process of cleaning my home, I ended up uncleaning my own body. Next, as I cleaned my body, I uncleaned the house again. This cycle of cleaning and uncleaning is documented in the archive of dust to identify how much of my body lived on the skin of my home and how much of my home lived on my own skin.
Cleaning is caring, videos
‘The dust of demolition serves as the fluid of incarnation. Dust gives birth to new dust……..’
Supriyo's Artist Statement: My practice is informed by the flux in different geographical, psychological or philosophical spaces. As I am constantly mobilizing across different spaces and occupations, it provided me with the different experiences of sites that I have been working with. There is an effort to mummify a space, object or a phenomenon in my works, which challenges the preconceived notions of the objects that appears inside a museum or a humanist value structure. The process of my works involves the native knowledge system, derived from various histories, bodies and memories to capture the unheard voices of disregarded post-humanist sites. In my current practice, I transformed my awareness of the site into a cross disciplinary site-specific engagement.