Pigment · 2019Earth 2 — Main Panel
Fissures with gold kintsugi repairs; broken ground that still holds value, opening toward ash-white and new green.
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Earth 1, 2, 3
Pigment · Mixed media on handmade paper · 2019 — soil as surface, sediment as memory.
Pigment · 2019
Pigment · 2019Earth 1
Dark, almost monochromatic meditation on topsoil loss and the erasure of agricultural memory.
Pigment · 2019Earth Detail
Close register of grain, binder and gold seam across parched ground.
Installation view · 2019Installation View
Triptych in situ; sediment as archive of flow and drought.
Study · 2019Earth Study 1
Hand-ground riverbed pigment mapping topsoil, fissure and repair.
Study · 2019Earth Study 2
Cracked field-plane sealed with gold kintsugi, ash-white and new green.
Study · 2019Earth Study 3
Riverbed sediment worked as colour and archive.
Study · 2019Earth Study 4
Distinct geographic and emotional register from Ganga, Yamuna and Sarasvati riverbeds.
Study · 2019Earth Study 5
Earth tones giving way to ash-white and the faintest green of new growth.
Study · 2019Earth Study 6
Painting as restitution — returning to the soil what extraction has taken.
Earth 1, 2, 3 is a triptych of paintings that return to the primordial — soil as surface, sediment as memory, and the geology of grief. Created using hand-ground earth pigments collected from three different riverbeds (Ganga, Yamuna, and the now-vanished Sarasvati), each panel holds a distinct geographic and emotional register.
The first panel is dark, almost monochromatic — a meditation on topsoil loss and the erasure of agricultural memory. The second panel introduces fissures, gold repairs (a nod to kintsugi), suggesting that broken ground can still hold value. The third panel opens into abstraction — earth tones giving way to ash-white and the faintest green of new growth.
These works ask: what does the earth remember that we have forgotten? And can painting be a form of restitution — returning to the soil what extraction has taken?