When speaking of General Charles Hervey’s sentimentalised account of the names of Satis’ who had died on the pyres of the Bikanir Rajas, G.C Spivak notes that, ‘there is no more dangerous pastime than transposing proper names into common nouns, translating them, and using them as sociological evidence.’

As such, Signs Taken for Wonders, interrogates the dual possibility and impossibility of re-inscribing an identity which exists only within linguistic, ocular and ontological frameworks of androcentric and colonial control.

The installation posits transparency and temporality in constant negotiation with another, the presence of the framing device met with the absences in-between each utterance.

Perhaps it is the pauses, the silence, the reflection of oneself, and the spilling of light onto the ground where all modes of control are momentarily suspended, the only perception left is of the viewer standing either at proximity or distance to the softly tinted coloured screen…