Some fables on the unstable Oscillation of Uniformity

Abhishek Hazra

I am interested in exploring a particular conceptual trajectory through the narrative device of the fable. Fables interest me, as they set in motion an interesting tension between the graininess of the particular and the fuzzy smear of the general. Also because of their short narrative duration, they allow for a certain compaction of ideas while simultaneously retaining a porosity of interpretation. I should clarify that these specific attributes of fables have perhaps more to do with my subjective – perhaps even idiosyncratic – 'take' on fables than with any widely agreed definition of their narrative function. One could see this project as a reflection on the processes that stitch together the fabric of our reality - a reality that navigates both the 'small voice' of the everyday and the larger theoretical structures we create, to grasp the nature of lived experience. I am aware that a dichotomous formulation of 'theory' and 'experience' is deeply problematic. I cite this example merely to give an idea of the tensions and movements I am interested in.

In this show, I have explored the conceptual trajectories of "Oscillation", "Instability", "Uniformity", and “Travel” through four short, eponymously-titled micro-narratives/fables. I am aware that each trajectory is packed with multiple, and often contradictory, layers of meaning. Within the fable/micro-narrative, I have therefore tried to delineate a particular context that throws into relief a certain set of meanings and resonances. In physical terms, each micro-narrative is created as a sequence of still images with accompanying text. The set of five micro-narratives will be installed as a projection within the gallery. This will be accompanied by a set of 6 large-scale prints and a sound installation.

How do I locate this body of work? I am interested in using the language of graphic design and typography to explore a terrain that is conceptually exciting. However, this conceptual exploration is not at the expense of formal/visual exuberance. In fact, the attempt is to arrive at an exuberance that is not merely vacuous or celebratory. I have borrowed from a whole range of visual and theoretical work, that do not easily fit the categories of high art or conventional academic disciplines. Technology, or rather the critical mediation of technology, also remains a central preoccupation in my work.