Artworks

REMINISCENCE OF HOME
REMINISCENCE OF HOME

BAMBOO. CHARCOAL ON PAPER & VIDEO PROJECTION 11'x5'x8'

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REMINISCENCE OF HOME
REMINISCENCE OF HOME

BAMBOO. CHARCOAL ON PAPER & VIDEO PROJECTION 11'x5'x8'

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REMINISCENCE OF HOME
REMINISCENCE OF HOME

BAMBOO. CHARCOAL ON PAPER & VIDEO PROJECTION 11'x5'x8'

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REMINISCENCE OF HOME
REMINISCENCE OF HOME

BAMBOO. CHARCOAL ON PAPER & VIDEO PROJECTION 11'x5'x8'

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1/8
BLURRED HYMN
BLURRED HYMN

PHOTO DOCUMENTATION

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BLURRED HYMN
BLURRED HYMN

PHOTO DOCUMENTATION

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BLURRED HYMN
BLURRED HYMN

PHOTO DOCUMENTATION

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BLURRED HYMN
BLURRED HYMN

PHOTO DOCUMENTATION

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1/8

DHIRAJ RABHA

UNDERGRADUATE // PAINTING

Artist's Statement :

Reminiscence of Home- living in and engaging with a harrowing environment since childhood, experiencing every ups and down within my family along with other families within such space and the outside as in contrast to the space demanded the need for expression through this project. Previously my father being an active member of a rebellion group ULFA (United Liberation Front Of Asom), and we being oppressed by the political standup of the socio-political condition of that time, resulting in shifting of our home, from our ancestral village to living in a detention camp, and currently living with a fear of uncertainty as the government’s administration wants to snatch our temporary settlement, during pandemic. My objective is to find compassion to open my mind to this issue, documenting their collective memories in different forms which can be shared with a larger section of society.Blurred Hymn- This project focuses in research and documentation of the endangered indigenous cultural, social and ritual practices of Assam. Since my childhood, I have been observing the degradation of local indigenous tradition, culture and crisis of ethnic identity. This is moreover like a conversation that how I look into this practice at the present situation and also a process of learning from them. Bharigan ia a ritual theatrical practice of Rabha community in lower part of Assam for the past 20 to 30 decades. It is a group of 30 to 35 practitioner performing folk and mythological stories with the use of heavy weight colorful wooden mask at the places of worship, sanctum sanctorum. These masks are basically made by gamari wood (Gmelina arborea) and coated by natural pigment colors. My objective is to bring some light to these practices and creating a certain kind of possibilities of survival of the tradition as a kind of conscious effort towards a certain critical way of looking at that.