Every Broken Moment, Piece by Piece
January 12-Mar 2, 2014
GallerySke, Connaught Place, New Delhi
Sudarshan Shetty’s exhibition “Every Broken Moment, Piece By Piece” is one of his best attempts to experiment with the notion of time and reinvention of it.
Time is not only an entity but also a conception. Oriental views and outlook towards the conception of time differs considerately than its occidental counterparts. Where the western philosophy sees time as a linear journey, the Indian philosophy speaks of it as a recycling one, or as a chakra. Shetty is invested in the world of physical objects, which he uses to question our conception of time and experience of loss. He brings up the traditional Oriental views of circular model where old forms can be reworked and reused. Objects of yesteryear’s importance can also be reused, re-formed and re-beautified with some creative permutations. The ceramic cups that were of importance but now broken were transformed into objects of aesthetics when re-created with wooden pieces. Not only the new-born object that interests us but also the process of making and blending the two different objects together seek our attention. Drawing from research on South Asian monuments, Shetty revises classical arts on a contemporary stage where new performances and rituals can take place. The porcelain jar which may have a definitive historicity transforms them into new objects of interests, which grow a new dynamo of classism and rituals, a new history making through its creation.
Shetty’s work is not only his dialogue towards the notion of time but also the perception of time. The old wooden house is a symbol of time itself, been worn out with the natural effects of it. But still it stand firm, with a dialogue directed towards God. The work may somewhere bring up an idea of anti-establishment and through the eternalisation of the ‘idea’ itself marks the mortality of establishments.
Shetty combines ancient architectural motifs from India’s varied cultures into a pan-Indian building, bringing together different strands of history in one structure. In his video piece, classical ragas played by a sarangi player are re-contextualized so that the music can be read in new ways. The passing of time becomes a regenerative force, opening up novel paths for interpretation.
The overall aura of the exhibition expresses a dynamic view of seeing things, much known objects in a neo-dimensional perspective, which is more than simple recycling, that is more towards re-inventing forms and objects in a new way. The passed moments are archived but instead of retaining its old identity evolve through a process of conceptualization and interpretation into new forms of being. Memory expresses itself with a hint of virginity of the newly created.