Description -

This work invites viewers to consider how memories and emotions are shared with others through the spaces we inhabit, particularly the familiar frame of a window. A window, with its dual view of inside and outside, is both simple and magical—a portal for reflection and connection. When traveling, many people prefer a window seat, drawn to the shifting scenes and sense of continuity it provides. Over time, as we gaze through it, the window becomes a silent witness to our thoughts and feelings.

Within a family, generations may view the same window differently, with their own memories and experiences shaping how they feel about it. To capture this evolving connection, I wove wool into metal window grids, embedding layers of emotion and shifting perspectives. The intertwining of wool and metal reflects our changing relationship with these spaces, as feelings flow in both directions—inside and outside. Each woven thread echoes the passage of time and the depth of sentiment contained within the familiar, timeless frame of a window.In terms of material, wool has unique characteristics—when we touch a woolen fabric, we often say it feels soft, comfortable, or soothing, bringing us a sense of calm. Similarly, words like "soft," "tender," and "comforting" describe our emotions and joys. Here, I relate this physical quality of wool to the intangible feelings within us, using it metaphorically to express that human emotions are invisible.

In this work, the wool symbolizes our emotions, capturing both inner and outer conversations. These threads represent invisible records of feelings and interactions between our inner and outer worlds. Through my work, I aim to give these invisible emotions a visible, tangible way.

Work - Window 2

Medium - Mixed Media

Size - Each Window (121cm x 213cm)

Material - Wool and Metal Frame

Time - 2019

Work - Window 1

Medium - Mixed Media

Size - Window (121cm x 213cm)

Material - Wool and Metal window Frame

Time - 2018

process

during academic time in india this room supposed to be our studio where I used to work

For this project, I sourced wool from a location approximately 1000 kilometers away from my university, Visva Bharati. I traveled to the northern Indian state called Uttar Pradesh by train to acquire the wool, as it is not readily available locally in West Bengal or in the local market. Due to the presence of corporate industries in that region, both natural and synthetic wool are commonly accessible there. I procured approximately 40 kilograms of wool for this project.

In my practice, I strive to engage with the entire lifecycle of a project—from the collection of materials and initial processes to the final outcome. This approach allows me to embody the essence of perfection and satisfaction by transforming an intangible idea or concept into a tangible visual form. Through this immersive method, I aim to make the invisible aspects of the process more present and meaningful in the final work.