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on a large piece of black paper measuring 39 x 27 inches there are hundreds of individual grains of rice drawn with white gel pen (outline only). the rice collectively creates a negative space revealing the black paper which can be read as a mountain with the rice as stars in a black night sky. the work speaks to effects of global demand and cost of food grown by farmers that they themselves often do not have access to. this work is part of a larger series. this piece specifically addresses dalit (low caste) sikh women farmers in panjab who have been fighting for their rights to own, farm and live off the lands that they otherwise farm for wealthy land owners. sikhi is a faith that calls for the abolishment of the caste system and any other defining characteristics/choices that lead to social, economic and gender hierarchies. though this is the ideal, we are far from this in practice, with astounding rates of femicide and violence towards those deemed lower in caste, economic standing and gender. when creating the work, the artist enters a meditative state that sees deep attention to each grain of rice drawn, often recalling moments from life when rice was purchased and/or consumed. in this way the artist brings the farmers into the creation of the piece with them.

a photo of a tan colour high heel shoe lying on its side on concrete with the sole facing towards the viewer. in the background there are a few blue recycling bins and the siding of a building that is also of a similar greyish tone to the concrete. there are some dark scuff mars along the side of the shoe. this is one image in an ongoing series of photos of shoes that have been found in the streets, beaches and parks. this work explores questions such as whose shoes are these? what were the circumstances of their abandonment?

the title of the work, 'bagh', comes from the persian word for 'garden'. this is also the word used for 'garden' in panjabi. there is a large painting measuring 48 x 36 x 2.5 inches. the painting is made using acrylic paint, watercolour, edible silver leaf foil, fabric, sand from rajasthan india, marigold petals, graphite, turmeric, wood burn, wood carving on mahogany door skin. the background of the painting is bone/buff colour with streaks of orange, royal blue and a muddied sand. there are small spaces of green paint, turmeric stains and wood burn in different areas around the painting. the top of the work has patinaed edible silver leaf foil on it that creates abstract shapes and effects, catching the light depending on where the work is viewed from. sand from rajasthan india is painted on the surface, towards the mid-bottom left of the piece we see small patterns of triangular star-burst shapes painted with the sand. the piece has been gouged and sawn into, and burned using wood burning tools. the bottom right corner of the door skin is slightly lifting from the frame to reveal a saffron yellow cotton fabric squeezing out from the joints and seam.
for 20 years this work hung in an inverted position. the work's theme is rooted in the 1984 genocide of the sikh people by the indian government and military. an organised attack was planned and carried out on one of the busiest holy days at the harmandir sahib complex also known as the golden temple in amritsar, the pre-eminent spiritual site for sikhs. 20 years later during the 40th anniversary of the genocide the painting was inverted and re-worked. the gouging, burning, scraping and additions speak to the passage of time, the scars and the regenerative spirit of the sikh peoples.

the title of the work 'ghallughara', translates to "large-scale massacre, holocaust, carnage, genocide, or great destruction". there is a square shape measuring 45 x 42 inches. the piece is a large vinyl decal. there is a gradient of a deep burnt rust colour that lightens downwards in an ombre effect. small white text sits along the left side of the piece. the imagery behind the text is faint and pushed back. towards the top there are legs and faint parts of torsos. in the foreground there is a figure lying on the ground burning, with flames glowing around the torso and head, this is a photograph from november 1984 when thousands of sikhs were brutally attacked, killed, and driven from their homes in a series of coordinated assaults by the indian government forces.
the white text on the left reads:
long before
cell phones & messaging
that middle-of-the-night-phone-ringing
lights on, sleepy eyes yet
hearts pound faster
urgent
desperate voices
adult voices
gasping
crying
worry turns over to rage turns over to worry turns over to rage
turns over
home is on fire
home is desecrated
home is violated
home is
home
here
there. ਸੱਤ ਸਮੁੰਦਰ ਪਾਰ 7 year old mind skips across 7 seas to
burning tires
burning flesh
burning guru wah
raped mammas
crushed limbs
rivers of black silken sacredness chopped from head to womb, feet to scalp
a people forever hunted
forever sovereign
bow to no one
but the creator of dark & light
light
darkness falls the night air heavy with heaving
hiding
searching
burning
oh the burning
babies burn
winters come & pass
babies burn
seeking
justice eludes peace eludes justice eludes a people long
before
long after

a photograph of a magazine cut out of a figure from top of head to just under the chest, with bangs and shoulder length hair dyed fuchsia-red wearing a red t shirt. their brown skinned arm reaches out with a white translucent latex glove on, index finger is slightly pointing. the face of the figure is cut out revealing a mauve-taupe colour. the cut out is on a piece of handmade paper with soft edges of a mauve-taupe color, the corner is slightly curled inwards and the figure is touching the edge of the corner with their extending finger.
this is one piece in an ongoing series of a living collage that moves this cutout figure and places it in different locations and situations.

a pink-taupe coloured handmade clay paper measuring 17 x 10 inches. in the top left area of the piece there is a small square shape folded out of the paper, like the shape was pushed into the surface to make an imprinted fold. its corner folds radiate outwards. towards the bottom middle area there is a tilted rectangular shape that has been embossed-debossed by a hand carved printing block. the imagery within the rectangle is of a peacock, a flower and leaves. there is a diamond shaped border that run along the top and bottom of the imprint. there is digital text in various spots around the piece interacting with the folds and shapes described. the image has been digitally altered to bring out the pink hue in the paper and accentuate the folded areas of the paper.
each portion of text is in a different colour. brown, light pink and taupe. the text reads:

i'm tired
of being
silent
silenced

this work speaks to the encumbering relationship of silencing that sexual abuse & violence survivors live with. the impact alters the shapes of a person's wholeness and development leaving scars and affect in all aspects of life.

there is a central figure in this photograph. everything has a blurred effects except the speckled surface of a window only visible in the dark colours present in the figure's head area. there are multiple layers of reflection. the figure is holding a camera up. there are stripes of varying blue shades of sky and white clouds at the top of the image. part of a reflection of a building on the right above the figure's shoulder. other layered shapes that are obscured by lack of focus creating a soft area of varying shapes and colours.
this is one in an ongoing series of photographs of the artist's reflection in various windows and reflective surfaces.

a drawing measuring 14x14 inches on warm white paper done in graphite of a faceless head. dark hair parted down the center with hair braided with ribbon and up in loops on either side of the head. the drawing fades towards the right side with only the bare faint shapes of the braid loop and ribbon visible. the proportions of the figure's hair suggests a child.

a white paper measuring 20 x 26 inches, has a woven pattern of orange-peach paint and the white of the paper. masking fluid was used to mask off the areas now visible as white paper while towards the top right there are remnants of the masking fluid curling and peeling up harkening to a skin of sorts on the surface of the piece. across the orange-peach area there are splatters of a blueish gun-metal ink/paint. towards across various areas of the piece where the masking fluid no longer exists there is faint graphite line work showing patterns and the under drawing for the weaving pattern of the piece.

a large piece of black paper measuring 22 x 30 inches has a fine line using white ink and a soft white pastel like treatment that follows the ink line in the shape of an arch on the top and mirroring on the bottom of the paper. in the center is another smaller arch shape with yet another arch design inverted on top of the other one in the center. the placement of the shapes pulls the eyes inwards towards the center whilst radiating outwards creating a movement between larger and smaller arch shapes.

a large piece of black paper measuring 27.5 x 39.5 inches. in fine white ink line a large drawing of a woven structure much like a n unfinished basket sits on a slight tilt. along the right side there is a strip of red silk adhered in a large curve that extends from top to bottom of the woven drawing. along the base of the woven piece bisecting across is a piece of copper tape with pointed ends adhered over the drawing. there are small areas around the piece where there are more woven areas drawn in using the white ink

on a large piece of black paper measuring 39 x 27 inches there is large organic shape covering most of the paper made up of small diamond shapes drawn with white ink. in some areas the diamond shapes create 3 dimensional shapes as though the drawing is moving and rippling.

this work was started shortly after the 2014 chibok schoolgirls kidnapping in nigeria. thinking more globally about the use of children in warfare, drug cartels, ransom-seeking etc, this work considers those left behind holding hope and waiting for the safe return of their children and loved ones. as of 2024 many of the school girls of chibok have yet to return home.

type-written on a warm pinkish kitakata paper measuring 11 x 12 inches is a text piece that reads:
the priceless words that others spit my way, i cannot keep up. i cannot record it all, what will i do with such records?
the dust is thickening
the cost is rising
the divide widens
just brush yourself off
and keep fucking going
oh for godsake keep your eyes to the ground, keep your voice low, hands timid and shaky, cover yourself, look me in the eye when you're talking to me, firm handshake now, c'mon use your knees, put a little back into it, put some hair on your chest, scratch that, we are looking for the most educated beautiful beauty, cook the shit out of that rice, iron the crease out of that sheet, put your hand down here and rub like this. that's right now you got the hang of it.
boys will be boys and the rest will follow suit. how righteous was your mama? how much of a pussy was papa? well let me tell you enough that I got the shit kickedoutta me. oh yes. I know it may come as a shock, and then upon pause you realise, well, maybe not.
you do resemble the battered and bruised. you look like one of them. the look in your left eye that gives it all away. ahh yes, I see it now.

on grey paper measuring 28 x 20 inches using white ink are mountain hill shapes, nothing is filled in, just line work and slight shading. there are soft white and black strokes within and around these mounds. towards the middle right there is a small area of line work using yellow and white ink. towards the bottom of the piece are tiny white dots covering the bottom portion of the piece.

a large plank of pine wood measuring 66 x 12 x 1 inches, on it, using wood burning technique various line work imagery of pieces of wood and bamboo are burned into the wood as a burned drawing. in some areas the wood burning interacts with the natural knots and shapes found within the pine.

on a piece of balsa measuring 15.5 x 3 inches with delicate wood burn line drawings of various pieces of construction material such as wood, bamboo and twine. across the top a piece of wood shape is attached to two thinner pieces of wood and bamboo rod creating a long thin triangular shape. down at the bottom a hook like shape of bamboo or rod emerges from the left side of the balsa and is tied to to one of the descending pieces of rod/bamboo with twine. the line work is light with cross hatching to create depth and shadow.

an installation shot in a large white walled room with concrete flooring. emerging out of the wall on the right is a structure built of bamboo and twine. it resembles a cage or scaffolding found in many countries such as india, china, vietnam etc. from this structure a thin piece of jute is tied and extends across the space to the opposite wall where the twine runs through a tiny pulley. from here the twine come back across to the middle of the space on the floor and disappears under a small pile of rocks or broken up red brick. the bamboo structure creates a soft geometric shadow on the wall next to it.

bamboo, jute twine, antique pulley, bricks

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