My practice explores the transformation of one’s relationship to home after displacement. I work from images, objects, and memories that have become difficult to approach directly: photographs of my village in West Bengal, landscapes of rice fields, blurred screenshots from video calls with my mother, objects brought from India, as well as places encountered in France that reactivate the memory of home.
I do not seek to restore these images in their entirety. I approach them as surfaces already made fragile by distance, loss of clarity, technological mediation, or the passage of time. In my drawings, paintings, and installations, the image often appears partially: erased, perforated, covered, transferred, dissolved, or reconstructed through matter. These gestures are not only formal effects; they express a relationship to home that has become indirect, unstable, and incomplete.
My recent works use graphite, oil, casein, paper, linen, wood, acetone, and pigments that I collect locally in France. In some series, I allow pigments to pass through perforated photographs of rice fields; in others, I paint images taken from video calls with my mother before partially erasing their surfaces. These processes allow me to question what remains visible when an image connected to home passes through distance, memory, and material transformation.
Displacement therefore appears in my work not simply as a narrative subject, but as a condition that alters the way one sees, remembers, and recognizes. Images of my village, my mother, or landscapes that recall home never return as complete forms. Instead, they persist through traces, absences, alterations, and uncertain resemblances.
My work inhabits this intermediate space: between presence and disappearance, attachment and distance, recognition and loss. I consider belonging not as a fixed state, but as a fragile relation, continually re-enacted between places left behind, territories inhabited, and the images that connect them.