India UK The Netherlands
learning to speak again through visual art practice
dicht
intro
This artistic endeavour is a deeply personal journey into the layers of the silent imprints of postcolonial migration. In my art-practice, I am developing the concept of ‘never leaving never arriving’ through the examination of colonial heritage. I am a multidisciplinary research-based artist working with various mediums through which the core practice is “learning to speak again through the visual arts”. I like to use tools of painting, sewing, filming, and writing to express female of colour silences. This leads me to pursue the following questions in my art practice – How to use gifts from the privilege that comes from being a daughter of colonialism? How to extend personal struggles into broader societal issues? How to create a multilayered visual narrative that explores emotional geography sharing both the articulated and unarticulated?
Bodily time line
1972: Born on July 3, India, but according to Marguerite Yourcenar your place of birth is your first memory.
1973: 1 year old
1974: 2 years old: Moved to England, but the cow, goat and mango tree were not a part of my luggage.
1975: 3 years old. First memories.
1976: 4 years old: A five penny piece got stuck in my throat. I managed to remove it with my fingers.
1977: 5 years old: A boy bit into my right arm at a nursery. It did not hurt. I still have a small scar on my arm, but you can hardly see it anymore.
1978: 6 years old: Mum started showing signs of depression, or that was when I started to notice it.
1979: 7 years old: I was afraid that I might be god.
1980: 8 years old: Michael pushed me into wet cement on the pavement leaving my footprint on my street for years.
1981: 9 years old: My brother told me that I was going to be married-off soon.
1982: 10 years old: Checked how much my feet had grown against my footprint in the cement.
1983: 11 years old: Deliberately failed in an exam because I did not want to go to an all-girls school.
1984: 12 years old: Started my menstruation.
1985: 13 years old
1986: 14 years old
1987: 15 years old: Realised that I made a mistake choosing this secondary school.
1988: 16 years old: Choosing A-Levels. Are you ready to be an artist?
1989: 17 years old: everytime I see a tarot deck I am too scared to approach it. Don’t understand this attraction, afraid of this attraction.
1990: 18 years old
1991: 19 years old: Attended Kingston Business School, and visited the art department.
1992: 20 years old: Lived the American dream for a year.
1993: 21 years old: Met a girl that was graduating from St Martins.
1994: 22 years old: Visited India for the first time. Graduated in Business and Finance.
1995: 23 years old: Tried smoking marijuana; was not successful.
1996: 24 years old: Still did not fit in. Moved to Holland.
1997: 25 years old: Started working at Ersnt & Young International Department, Amsterdam.
1998: 26 years old
1999: 27 years old: Tracey Emin “Bed” nomination of the Turner Prize. I had a well-paid job, a car, and a house.
2000: 28 years old: Travelled in Kenya.
2001: 29 years old: Travelled in Alaska.
2002: 30 years old: Travelled in Costa Rica. Passed my Chartered Accountant exams. Still did not fit in.
2003: 31 years old: Realised that money can make life easier but not necessarily happier.
2004: 32 years old: Carried on working as an Accountant. I felt like a fraud. Pretending to be something. Moved to Greece. Stopped working, and realised how important light is.
2005: 33 years old: Mella was born. She fitted in.
2006: 34 years old
2007: 35 years old: Jay was born. He fitted in.
2008: 36 years old: Moved back to Holland.
2009: 37 years old: Decided to go to art schoolJ. Are you ready to be an artist?
2010: 38 years old: Was told that I was too old to become an artist.
2011: 39 years old: Still do not dare tell anyone that I do not know what an artist is.
2012: 40 years old: Laila told me that I am always saying sorry.
2013: 41 years old: Can’t apply to many institutions and prizes due to age limits. Feel like I am already written-off before I got started. Travelled in New Zealand.
2014: 42 years old: Moved to Bratislava. Are you ready to be an artist? Yes. But how, when nobody is looking for you?
2015: 43 years old: Had a tumour removed from inside my head. The body recovered well. Must go on medication. Gave up my RA title.
2016: 44 years old: Went to visit Kafka’s grave. Moved back to Holland. Back to art school. Back to chasing a dream. I was allowed to stop taking my medication, my body did not need it anymore. Thank you, body.
2017: 45 years old: Graduated from HKU Art Academy, Utrecht. Travelled to Tanzania. Got invited to participate in exhibitions. Felt insufficient so I signed up for the master’s programme, and got accepted. Sold my car and started to use the public transport.
2018: 46 years old: Mum passed away in her sleep in the morning. Sunny followed soon after and then in the during New Year’s 2019 Dad passed away in the early morning. All three in their beds. My dog Troy was born. We brought him home in October.
2019: 47 years old: Dealing with my silence, I wished to break through the 4th wall. Heritage, citizenship and identity become urgent matters, because of Brexit, and the current migration situation. Having difficulties with my dog and my naïve thoughts that all dog owners were social people. Got my master’s in fine art
2020: 48 years old: Did I ever arrive? Did I ever depart? What happens in this time of passage? Stopped trying to fit in. Create my own world. Look for love and friendship. Corona pandamic is here. My dog Troy is happy that the family is home all the time. Happy that mum, dad and Sunny passed away before the wave of pandemonic with Covid, and the realisation that I would not be able to attend their funerals and be with the family in UK.
2021: 49 Rejection, unsuccessful.
2022: 50 Rejection, unsuccessful. Time to heal, but how? Finally found the courage to pick up a tarot card deck and ordered two sets.
2023: 51 – successful – got the Mondriaan Funds. Found out about the virginity testing that took place in the UK between 1968 and 1979. Always wanted to make a work with neon lights, now I have the topic. Started reading my birth chart with an astrologer. It’s time to work with mums’ depression. Feeling hurt all the time by other people, need to build some healthy boundaries.
2024: STOP PEOPLE PLEASING!!! Reduced my contract with the HKU, not enjoying the work anymore. Want to teach more but not able to find this position. Decided to do an advanced masters in Antwerp. Nice people. Feeling I fit in. My son finally admitted that he is smoking.
2025: Time to go inwards an open my expansive inner world. Embrace the hermit inner being.
2026, 2027, 2028, 2029, 2030, 2031,
2032, 2033, 2034, 2035, 2036, 2037,
2038, 2039, 2040, 2041, 2042, 2043,
2044, 2045, 2046, 2047, 2048, 2049,
2050, 2051, 2052, 2053, 2054, 2055,
2056, 2057, 2058, 2059, 2060, 2061,
2062, 2063, 2064, 2065, 2066.
Artistic CV
thus far, modes of sharing my artistic practice consist of the following
dicht
learn more
SHARING AND EXHIBITING
Feb 2024 Story-telling performance (online), UNIGR centre for border studies crises, University of Luxembourg, LXM
Sept 2023 Witches Wanted, Club Huis, performance of “As the love trickles down,” Het Huis, Utrecht, NL
Sept 2023 Seeing, Saying group exhibition at Troef, Leiden, NL
April 2023 Lecture Performance at Helsinki University, course Shadow Narratives of Europe Postcolonial and Decolonial Encounters Lectures. Also, providing student guidance on research, FI
April 2023 Exploring Silences in Displacement Narrative, workshop-exhibition-creating educational material, group effort at Museum Flucht, Berlin DL
Oct 2022 Accompaniment, solo exhibition, Het Huis, Utrecht NL
May 2022 Art. 1 Dutch Constitution, collaboration with Law Faculty UU, group show Academie Gallery, Utrecht NL
April 2022 Kinship, solo exhibition, MIJ Ijsselstein NL
Dec 2021 Story-telling performance, Mobility and European crises, on everydayness, Annual Danish European Community Studies Association Conference, Copenhagen DK
Oct 2021 Here and There (film), Absurd Beings, Studio Spijkerkade, Amsterdam NL
Sept 2021 Several painting and drawings, Le Grande Final, group exposition, Gallery de Wit, Wageningen NL
Oct 2020 My British Museum, podcast, De-colonial Studies, Nijmegen University, Nijmegen NL
Jan 2020 Bodily Time Line (text), Story-telling, Trainings for the Not Yet, group exposition BAK, Utrecht NL
July 2019 Here and There (film), Futures Without, group exposition, BAK, Utrecht NL
May 2018 Several Paintings, Eenheid in Verscheidenheid, Gallery De Wit, Wageningen NL
Nov 2018 Sporen (Traces) SBK, Amsterdam NL
April 2018 Drawings presented by SBK at Kunst Rai, group exposition, Amsterdam NL
Dec 2017 Paintings exhibited at ARTificial? group exposition Gallery Sanaa, Utrecht NL
Sept 2017 Paintings exhibited, Artspotting Dutch National Bank, group exposition Best of Graduates, Amsterdam NL
2017-2022 Painting, Art on the Wall: Mella, Linschotensingel/ Vronesteinlaan, Utrecht NL
May 2016 Paintings and drawings exhibited at the Academy Gallery AFAD, solo exhibition marking the end of my two-year residency, AFAD, Bratislava SK
PUBLISHED WRITTEN WORKS
Mid 2024 Unmuting the subject of partition: rhythms of depression and the ongoing crisis of the modern European subject, University of Copenhagen, chapter in book Silencing Crises / Making Crises Speak, DK
Oct 2022 Mister Motely, interviewed by Hidde van Grongingen, Bewegende Stemmen, Gospel, Museum Catharijneconvent, NL
Sep 2022 Metropolis M, article on International students and racism in the Netherlands, + interview, published September issue 2022, NL
July 2022 Regular/Irregular migrant: situated glossary, collective essay, Nijmegen University, published spring 2023, NL
Jun 2020 Forum+, Autobiography as a Methodology in the Visual Arts, published autumn 2020, BE
Portals to Self-reflection and Storytelling
This series of paintings concern my relationship with my late mother, who suffered from severe depression as a result of migration trauma that stems from partition of India in 1947. From my own collected photographic archive of my family, I translate the images into “emotional storytelling,” using tarot as a guiding framework. The paintings are rich with hybrid symbolism, which may not be immediately accessible to Western viewers. Similarly, tarot and astrology are not universally accessible. Yet, the works radiate a comforting sense of love, mysticism and mindfulness. Just like tarot, I hope my paintings can serve as a guide to help people explore their own stories, thoughts, and emotions, to discover their own voice, and to discern expression.
This series of paintings concern my relationship with my late mother, who suffered from severe depression as a result of migration trauma that stems from partition of India in 1947. From my own collected photographic archive of my family, I translate the images into “emotional storytelling,” using tarot as a guiding framework. The paintings are rich with hybrid symbolism, which may not be immediately accessible to Western viewers. Similarly, tarot and astrology are not universally accessible. Yet, the works radiate a comforting sense of love, mysticism and mindfulness. Just like tarot, I hope my paintings can serve as a guide to help people explore their own stories, thoughts, and emotions, to discover their own voice, and to discern expression.
Accompaniment
The making of kantha blankets is an intimate exploration of memory, resilience, and transformation. Drawing from the South Asian tradition of crafting hand-sewn textiles, I have created layered pieces that merge personal histories with collective narratives. Through stitching, I am repairing scars from racism and discrimination of being a female of colour living in Europe. The act of sewing becomes both meditative and political—a gesture of repair that acknowledges pain while envisioning renewal. The kantha blankets, often incorporate sculptural elements. They serve as tactile archives of loss, love, and resilience, inviting viewers into a space of reflection and connection.
Silent Witness
This neon light works confront the disturbing history of virginity testing imposed on South Asian migrant women entering the UK between 1968 and 1979. Using the stark, glowing language of neon, a medium often used in South Asian celebrations, I have transformed henna design patterns into festive lights to illuminate the dehumanizing scrutiny these women endured under the guise of immigration control. The works juxtapose the invasive nature of these tests with a deeply personal and political reclamation of agency. Through bold yet haunting imagery, this work calls attention to this silenced chapter of history, offering space for collective remembrance, critique, and the duty of the next generations to speak of such hidden events.
Performances
Storytelling performances intertwine personal and collective narratives, creating immersive experiences that explore themes of migration, grief, and healing. Through a blend of spoken word, visual elements, and embodied gestures, I channel stories of intergenerational trauma and resilience, drawing from my own life and the silences of my own family’s history. These performances act as rituals of decolonial repair, inviting audiences to reflect on untold histories and their own connections to cultural identity, memory, and fabulation.