Sci-fi touch to art installations

Sci-fi touch to art installations

As you enter the gallery, you get the glimpse of a so-called camera, parts of a deconstructed camera suspended in air with the help of strings, a tile game which shows all the places, a rustic bike, frameless landscapes and interesting mirrors.

Just then you hear, “It is not a photo exhibition,” from Vikrant and Thiru, the creators of 11 installations called the The Deconstruction Project.

S Thiru is a professional photographer while Vikrant is an architect. Both met while designing Thiru’s office and the bonding grew so well that when Thiru was encouraged to organise an exhibition of his work, he asked Vikrant to curate it.

Clueless as to where to start, they executed their thoughts by first deconstructing a camera — the source of all images. The process turned out to be an interesting game where both took turns. Thiru says, “Deconstructing the camera was like getting into the soul of the camera. It is while opening it that we realised that there are so many intricate parts in a camera that we are unaware of.”

Each installation narrates a story of its own. The largest installation titled Epiderma takes its inspiration from ‘Fashion’ measures over 15ft x 7.5 ft and is made using 120 A4 size panels of digitally manipulated fashion prints on backlit acrylic panels, held together with metal rings to form an undulating drape. Thiru says, “These photographs were taken at the Fashion Week from 2002-2006. The intention behind printing them in black was to highlight the creation rather than the model.”

The artistic skills of Vikrant can be seen in the installations such as ‘A life less ordinary’ and ‘Being’. ‘A life less ordinary’ is drawn from the quintessential tile game which has a rusted Royal Enfield drawn on the top layer with eight movable squares while the lower layer has nine landscape images of the places that it visited.

As the viewer moves the tiles, there is a new composition created every time. Vikrant says, “By giving the installation dynamism, we intend to ‘give back to the bike its character’ — of always being in motion. We want the viewer to not just see but also play and get engaged in the exhibition and that is why we have made it interactive.”

Equally interesting is the installation of ‘Be/ing’, where young girls see their reflection in a broken mirror and seek dignity regardless of their poor circumstances. This installation comprises an image printed on clear acrylic, with mirror backing, placed opposite a broken mirror on a slim metal stand and the viewer is free to pass between them.

But masterpiece among all is the installation ‘Smile’ which is conceived in three layers. The top two layers present stamp like perforations and are a mosaic compilation of photographs from Thiru’s Kutch trip. The topmost layer is in black and white while the middle and third layers are in colour. The third and pivotal image will finally reveal the smile of a young girl that remained prominent throughout the Kutch trip.

All compositions target at encouraging people to interact with the artwork and encourage them to enjoy their own discovery momentum. So before you leave, you shall be presented with a square perforation that you scratched from the installation ‘Smile’.

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