As a mother, I find myself endlessly navigating physical and emotional terrains in diurnal cycles. These journeys, at once very confusing and complex, entangled with feelings and sensations, encompass the physical and psychological dimensions of my body. They often overlap and entangle with each other. These sensations flow into a vast visceral landscape which finds solace and a place of reflection in my art practice. My journey, both as an artist and a mother, defines my practice. It starts at the overlaps of my training, instincts, and intuition and in a process of sense-making of my experiences. This journey lives through the corporeal and the ethereal realms of the body.

Four Terrains is a work in progress. It is inspired by my poem, रोज उरलेले, in Marathi, which roughly translates to Leftovers. The poem is a response to the restraining frameworks of domesticity and the continuous repetitive cycles in which these frameworks operate. Often this routine produces unresolved, amorphous masses of impressions or clog-like leftovers, which are seldom actualised. 

The poem and this visual assemblage attempt to explore my body and mind as they inhabit this domesticity as an artist, and the manner in which my practice is recognised and accepted, as a mother. Using the form of drawings, and sounds from the immediate environment of my home, these texts and images are moments from a process, recorded hastily in brief intervals of time (reflecting the nature of my current practice and being) as they develop into a comprehensive form. 

I work upon initial markings with many more markings; as the physicality of each drawing develops, it constantly wipes off the traces of the moments before. I thus foreground the experience of evolution and denial as fundamental aspects of this journey of a form. This assemblage bears the parallel journeys of several markings that collate moments of this everyday existence.