Concrete Perspective Drawings: Remnants

2026

Concrete, metal and wood

106 x 130 in

Remnants considers protest sites as latent holders of political action for women's rights through three architectural sites in Delhi. The work examines how ordinary urban spaces are transformed through collective occupation, and how these transformations persist- or are erased- with time through perspectives of surveillance at each location. The project engages with Jantar Mantar, the Supreme Court, and photographic documentation of Om Swaha by Sheba Chachi (1980–1982)/Mehrauli/India Gate, now held at the Alkazi Foundation.

Using perspective line drawings, the project considers place-making and monumentalisation of spaces through fractured horizons and mark-making. What happens when the object that produces an impression is removed, and how perspective persists through historical record, archival access, and modes of visibility. These questions are explored materially through the pressing of metal onto concrete.

Through the demarcation of persistently placed light and shadow using black paint, the works consider how knowledge is removed, shaped, influenced, adopted and remembered through acts of perspective-making. The drawings function as spatial archives, preserving moments of dissent that resist material erasure and continue to shape urban memory. In doing so, the work gestures toward residual lines that trace bodies, movement, and confrontation– not as visible figures, but as spatial impressions held within architecture.