Sculpture & Installation

Until the Flowers Forgot explores memory, cultural inheritance and preservation through handmade, organic and archival materials. Embroidered preserved flowers are held within handmade unfired terracotta vessels and arranged across a carved British India table, bringing fragile organic material into dialogue with inherited objects and histories. The installation explores attempts to preserve what is inherently transient, while questioning what is carried, altered or lost through acts of remembrance.

Untitled 2 explores fragility, embodiment and transformation through terracotta and motifs drawn from South Asian textiles and adornment. A partial image of my face emerges from the surface, moving between presence and absence, visibility and concealment. Through fragmentation, the work considers identity, memory and the body as a site through which personal and cultural histories are carried.

A Field of Countless Echoes explores fragility, cultural memory and repair through unfired terracotta fragments arranged across jute and connected by gold thread. Drawing on the visual language of South Asian textiles and ornament, the work treats breakage not as an endpoint, but as a way of holding histories together. Its deliberately vulnerable fragments suggest how memory can be carried, disrupted and reassembled across migration, generations and diasporic experience.

Flight Re-visited explores migration, displacement and cultural memory through the history of Partition in 1947 and my diasporic relationship to Pakistan. Torn fragments of pre-owned South Asian women’s and children’s clothing are hand-stitched into larger forms, with visible stitches suggesting rupture, repair and resilience.

Plastic laundry and storage bags, connected to periods of personal upheaval, become symbols of movement and carrying. Installed site-specifically at The Old Police Station, the suspended materials respond to the architecture through wrapping and accumulation. The work considers how experiences of displacement can persist across generations and become embedded within clothing, material and memory.

Hung Out to Dry explores the emotional and psychological aftermath of abuse through the form of a stained, fragile garment. Its transparency suggests vulnerability and the ways experiences of abuse can remain unseen, while the stitching evokes attempts to hold together and repair what has been damaged. Suspended between presence and absence, the work connects personal trauma with the domestic spaces in which abuse can remain hidden.