In the room bidout walls, an art exhibition by outgoing batch of the Master of Fine Arts (MFA) of the College of Fine Arts, Thiruvananthapuram, Vishnu Chandran R converted the canvas into shelves (and not organized types). There is a great sense of chaos in finding a floor cleaner, talcum powder and an alarm clock on the same mental – a wind of an air of entropy moved forward with old, dull walls, smear with betel nut stains. Each element tells something new about the owner.
Memories and objects that we place by Vishnu, presented art showkeases by 14 artists in the exhibition – each installation and its nuances have a piece of their story, bringing together harmoniously together.
Memories and things that we keep in the room without the wall by Vishnu Chandran R. Photo Credit: Nainu Oman
The work is by Adithya S Kumar, Amal Jeth Oz, Amal Lal Puthukudi, Atul KP, Chandan Gaur, Zinto Biojo, Nitin Das MV, Rahul Buski, Rahul PP, Rajnesh KK, Sabhin SS, Sandra Thomas, Shajith RB and Vishnu. The week-long exhibition, which began on 25 July, detects the idea of social-political structures and spaces on body politics, caste, ecology, individualism and so on.
Sabhin, “a Dalit-Christian artist”, sees his work as “a combination of art and activism”. Their establishment added raw materials to its hometown, Neyatkara, with multimedia elements made of archival footage on Dalit Christians. Set in two dark rooms, Sabhin re -organizes its identity creation blocks, such as surroundings, business and so on, among others; Government documents on performance emphasize the label on them at birth. The rubber, in its unprocessed form, acts as a lameotiff, sheds light at the generational possession. “My job is part of a documentation, whether it is a painting or a video or an installation, it is visually about representing a particular memory,” says Sabhin.
Part of an installation by Sabhin SS in the room without a wall. Photo Credit: Nainu Oman
Rahul Busky put his tribal identity on demonstration, which was born of cultural memory, social conflict and reality. His work deal with Muthga protests, which was against the delay in land allocation to Edivasis in Wayanad in the early 2000s. Rahul is a document of the incident and keeps it in a large context of caste discrimination. While the pictures display the experiences of the community, contradictory photographs show how the public obeyed the matter.
Installation in room without wall. Photo Credit: Nainu Oman
Sandra and sandalwood perform a variety of techniques in their idols, using various media and subjects to establish their installation. The establishment of life-size made by Sandra by newspapers is a result of epidemic on people in her worldly roles, when she was looking for raw materials at her home. “Earlier, it was a set of objectives with which I interacted in my daily life; then I moved it to people,” she says.
An installation in the room without a wall built with newspapers. Photo Credit: Nainu Oman
His idols were made with the help of his acquaintances with shape molds. This paper is strong with pulp, sawdust and paper glue. “The layers of newspapers are considered as skin layers,” Sandra says, which with the help of a mold see the sculpture as a way to rebuild people.
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The sandalwood of Jaipur, Rajasthan tries to look beyond the physical body and represents it as a compilation of experiences, memories and internal conflicts. Their sculptures include fiberglass, form and terracotta. His work is a depiction of a universal conflict in a broken but safe, an invincible world.
Establishment by Chandan Gaur in the room without a wall. Photo Credit: Nainu Oman
The stagnation through the lens of migration migration by Nithin sees the contradiction of the movement, about the people who are cursed to walk in the circles, without moving, without moving. Displaying a unique structural language, their establishments are the world’s distorted breeding, which is immorally “raw or rude” filled with imagination, kept carefully.
Establishment by Nithin Das MV in the room without a wall. Photo Credit: Nainu Oman
Three times of this MFA batch, the Kerala Lalitakala Academy Award winner, Shajith, has worked by wiping a series of oil, water color and acrylic paintings, which is one about the various signs of ecological fall seen in its hometown Kannur as a peacock, which is one in one. “I especially look at Malabar for my separate ecosystem and architecture, which I bring to my work,” Shajith.
Painting by wiping the series by Shajith RB in the room without a wall. Photo Credit: Nainu Oman
Pictures with long, rough brush stroke were created by the artist by attaching the paintbrush until the end of a stick. “It combines the performance nature of my art, as I am also a theater artist. For me, this is a performance when I paint and another performance when I display prepared paintings.”
The room is in width walls, college of fine arts, thiruvananthapuram, till 3 August. Time: 10 am to 8 pm
Published – July 31, 2025 05:06 pm IST
