“Bodhgaya Binnale” Dec’ 2018

Padhaav… A Momentary StoppageMixed Media installation created with metal, wood, hair pins, found objects, tin boxes and mirror sheets.

Human endeavours have built all kinds of pyramid structures to indicate growth – be the pyramids of knowledge, wealth, industry, society, culture, or development, etc. These ‘pyramids of endeavour’ can, however be a double-edged sword. Those in need of growth want to get inside of their envisioned pyramid, and once they are in it they want to rise to its zenith. This is a stream of migration that we all embark on in our lives, physically or mentally. In doing so we end up creating the trails of our transits, and our own migratory patterns that are laid bare for all to see.

 Aarti Zaveri, a conceptual artist who is primarily inspired by Nature; it’s mysteries and complexities, has conceived an installation project that repre-sent the transitory state of migrants. Her ideas and concepts often derive from the study of change in the topography as a result of rapid growth and modernization. This installation has distinct segments. The pyramid structure that has an inner and outer space. Encircling the pyramid is a line of tin boxes and potlis that point out the uprooted past, unstable present and unsure future of the migrants. The video depicts the constant ux that migratory patterns often present us with once we endeavour to reach and climb the pyramid of our chosen ambitions.

That said, the installation, however, presents us with an irony — since Bodhga-ya is synonymous with Gautama Buddha who, against common migratory patterns, went into the forest, away from material, societal and economic drivers — in search of philosophical truths. Perhaps the migration of those who went against common migratory patterns have contributed much more to humanity than the mere search for material or supercial wealth.

Perhaps the migration of those who went against common migratory patterns has contributed much more to humanity than the mere search for material or supercial wealth. By presenting this dichotomy the artist thereby poses the question to the viewer – What is your pyramid; is it material or philosophical? Which way are we migrating, and for what?