Installation with Bamboo and Thread⁣⁣
Blurred Perimeters, Blurring Identities – A North Eastern Artists’ Perspective⁣
Oct 26 – Nov 20⁣
Bihar Museum⁣

“I know there is strength in the differences between us. I know there is comfort, where we overlap.””
― AniDiFranco⁣

‘Blurred Perimeters, Blurring Identities – A North Eastern Artists’ Perspective’, conceptualised by Wahida Ahmed and curated by Pranamita Borgohain, attempts to delve into the definition of identity in regard to its geographical position and trace the shifts occur to it when the geospatial borders obscure. The ongoing show at Bihar Museum, Patna in collaboration with Akar Prakar Contemporary has brought together twelve young artists from northeast india: Ankan Dutta, Careen J Langstieh, Chaoba Thiyam, Dharmendra Prasad, Dhrujabit Sarma, Gopa Roy, Jimmy Chishi, Pallav Saikia, Sanjib Kalita, Sisir Thapa, Victor Hazra and Wahida Ahmed.

Wahida Ahmed’s installation consists of a wooden frame that echoes the form of handloom with a traditional Assamese cloth placed on it. Tangled white and red threads concealed the structure of the loom, inviting the viewer for a closer examination. The handwoven fabric has paisley motifs at its one end while the other end is rolled in a warp beam and sets of warp yarns hanging from it. The paisley motif, tracing back its origin in Persia, bears a history of migration and travel that blurs the idea of border, territory and regionalism. About using the threads the artist adds, “The repetitiveness of the process becomes a metaphorical gesture of blurring individualities and identities.”

After graduating in science, Wahida joined Guwahati Artist Guild to study Fine Arts. She participated in several national and international shows including India Art Summit, New Delhi in 2009 and 2011, World Art Games Annual Exhibition at Izmir, Turkey 2012 and Croatia 2013, among others. She received ‘Naari Shakti Award’, conferred by the Lions Club International in 2015. Her practice includes painting, installation, curation and art writing.

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