The Work
Not a résumé. A record of what’s been felt, fed, filmed, and fought for.
My work moves between installation, film, food, performance, and diagram — but the throughline is memory. Each project is a ritual. A refusal. A remix.
These aren’t just artworks. They’re survival tools, ancestral echoes, and maps toward what comes next.
I lead with The Hands of Gods. Start there, then wander.
The Hands of Gods
FILM/ INSTALLATION / PERFORMANCE 2025
The table remembers. The body resists. The Hands of Gods is both altar and archive—tracking what’s passed down, and what was forced to be unlearned.
Not just a film. Not just an installation. It’s a memory served hot — built from the left hand up. This is about ritual. About surveillance. About the way our hands get policed before our voices ever do. Premiering at Art Basel 2025, The Hands of Gods flips family archive into sacred offering.
A table becomes the stage.
A meal becomes the refusal.
A left-handed gesture becomes a whole damn language.
Some build shrines. We built this.
Our Masala Who Art in Heaven
ALTAR / ASSEMBLAGE / PERFORMANCE 2025
This didn’t start as an artwork.
It started in the aisle of a corner shop — where saffron-toned spice boxes whispered of purity, and god sat printed above the barcode.
We began to notice the overlaps:
Colonial packaging dressed like Christian altars.
Caste-coded ingredients framed in gospel fonts.
The holy and the harmful sharing the same shelf.
This is about taste. About caste. About the hypocrisy baked into what we call “authentic.”
Because we don’t just export spices—we export ideas of hierarchy and home throughout the diaspora.
These aren’t just spice boxes—they’re shipping crates for colonial taste, caste hierarchies, and anti-Blackness dressed in saffron.
Premiering at Art Basel 2025, Masala Who Art in Heaven transforms spice boxes into a shrine. A sermon. A refusal wrapped in plastic.
Branded altars. Shelf-stable prayers.
We built our gospel from spice and memory.
Architecture of Oppression
DIAGRAM / VISUAL THEORY / EDITIONED WORK 2025
Salvation Sponsored by Empire™
From the series: Architecture of Oppression
Part of an ongoing visual series mapping the systems that structure marginalised life—Architecture of Oppression transforms complex histories into legible diagrams of power, violence, and resistance.
This edition explores the overlapping logics of Colonization, Christianity, and Capitalism—a ménage à trois that continues to script how we pray, govern, and consume.
It’s part syllabus, part visual theology, part refusal.
→ Limited edition of 20 + 2 APs. €500.
→ Available during Art Basel satellite, June 2025.
Collision Course: England, Empire, Cricket
SOCIAL SCULPTURE / SALVAGED CAR PARTS / 2022
This work critiques the racism and elitism embedded in British cricket, sparked by Azeem Rafiq’s testimony.
Constructed from salvaged car parts, the piece fractures the myth of cricket as a civilizing sport—revealing it instead as a colonial tool of exclusion. The blue doors nod to the British police state and the surveillance of racialized bodies. A cracked grille signals racism breaking through the surface. The embedded cricket bat evokes both inherited trauma and enforced assimilation.
BlindianProject Frequencies
LIVE PRACTICE / SOCIAL SCULPTURE / ONGOING SERIES
An evolving series of gatherings held across the diaspora—from homes to clubs, cafés to cultural spaces.
From NYC to London, Berlin to Hyderabad, each frequency remixes intimacy, critique, and collective joy.
Black and Brown kinship isn’t just discussed. It’s lived, danced, and fed.