রশ্মি/RAŚMI/RAY
[2017 - 2020]
The fragility of light, space and time in
Protick’s works hurtle into overwhelming rapidity of contemporary urban
experiences in Raśmi as time collapses into a dizzying continuum. Constituted
from images captured by Protick daily of his surroundings and encounters from
his travels—defying geo-political anchors—for a period of three years, the
moving-image work marks the existential anxieties, sensorial excess and
continued accelerationism as we drown in the dregs of civilizational ambition.
The cacophonous ticking of the visual and sonic cues in this work instils in us
the sense of glowing embers just moments before they recede into absolute
stillness, darkness and silence. Just as ashes speak of the annihilatory glory
and fury they were once capable of, we are left with after-images that carry
the imprints of mortality and transience.
— Anushka Rajendran, 2022
— Anushka Rajendran, 2022
Video
Multi Channel, 16:9, Color
09:09 mins
Sound: 2 channels
2020
Rasmi, lands us in his personal truth, or sought to reconcile the competing influences of a natural world full of ambiguities, and indeterminacies, an uncertain and paradoxical inner voice, and an embodied transformation shaped by conflicting reflections. The work extends with sonic responses and sound cues, opening a new way of seeing through another way of hearing, and revealing a personal cosmology that illuminates what might come next.
FOAM TALENT: ESSAY BY BINDI VORA
Constantly delving
between the two extremes—the hyperreal-digital and the organic-natural world—Raśmi becomes a depiction, a
commentary on duality of lives, contradictory and often overlapping. The images are created out of the everyday,
non-extraordinary consequences and the luminous queries about the
‘cosmic’.
Raśmi (a ray of light in Bangla) is an arrangement of images and soundscapes, materialising as a video projection. Ingrained in an experience of loss and grief, the work explores the ideas of personal truth and fiction, with its pretext being non-geographical, a non-place and yet universal in its stimulation. Intertwined with the images, the immersive soundscape works almost as a narration of the sequence.
This light which is almost omnipotent throughout Sarker’s depiction of the objects – as those of the cosmos – creates situations as lucid as it can get in its meaning. Anchoring it further in its universality, is the recurring presence of the circular form photographed from varying vantage points, empty or hollow and at times illuminated at a distance. In between this intricately carved pattern of imagery and sound, one could find oneself hoping for a hope, to breathe – inhale-exhale and to let go.
Raśmi (a ray of light in Bangla) is an arrangement of images and soundscapes, materialising as a video projection. Ingrained in an experience of loss and grief, the work explores the ideas of personal truth and fiction, with its pretext being non-geographical, a non-place and yet universal in its stimulation. Intertwined with the images, the immersive soundscape works almost as a narration of the sequence.
This light which is almost omnipotent throughout Sarker’s depiction of the objects – as those of the cosmos – creates situations as lucid as it can get in its meaning. Anchoring it further in its universality, is the recurring presence of the circular form photographed from varying vantage points, empty or hollow and at times illuminated at a distance. In between this intricately carved pattern of imagery and sound, one could find oneself hoping for a hope, to breathe – inhale-exhale and to let go.
Installation view from ‘Dancing with the Dead’ at New Castle.