How objects mould our memories and identity

An exhibition in Delhi makes an appeal to take notice of things that are "vanishing before us".

Written by: Vandana Kalra

4 min readNew DelhiUpdated: Sep 23, 2023 04:49 PM IST

The exhibition at Bikaner House in Delhi is on till September 24. (Express archive photo)

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How objects mould our memories and identity

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In one of the several imposing rooms of Bikaner House in Delhi, pinned on one wall are ubiquitous objects that most people find too commonplace to notice, but for artist Abdulla PA these are elements that make his work, titled “Chuttum”. “These are all gathered within a five-kilometer radius from where I reside,” says the Thrissur-based artist, introducing the different pieces dipped in resin and chemicals, including twigs, loofah, fruit seeds, banana skin and driftwood.

“I study the design, pattern, colour and function of each of these. Stored in separate boxes in my studio, I attempt to bring them together in an effort to record what we have and what we are losing,” adds Abdulla, 27, asserting that the work is as much an interplay between the objects as it is about their shadows on the wall.

Artist Abdulla PA. (Express photo by Tashi Tobgyal)

This is one of 80 works that feature in the show titled “Things are Vanishing Before Us”, which takes the form of a survey exhibition of contemporary object-based sculptural practice. “Objects aren’t just commodities to be bought and sold; rather, they carry an indelible mark, a unique aura that stirs up deep feelings of nostalgia. Through them, we can understand our past and forge a connection with it. Objects become part of us and define who we are as individuals. Our lives are intertwined with all the things we call ours, so much so that there is little distinction between us and those objects,” notes curator Premjish Achari in a wall text.

An exhibit from the show titled “Things are Vanishing Before Us”. (Express photo by Tashi Tobgyal)

While the focus of the showcase presented by Gallery Dotwalk is contemporary art, the gamut is vast and viewers encounter a range of mediums, ideas and subjects. Through works of over 40 participating artists, Achari nudges people to ponder how objects mould our memories and identity, the allegorical connections between them and us, and how they extend from being mere objects and utilities to lost ideas and meanings.

The narrative draws from the inward and the outward. In GR Iranna’s bronze work “Communication in Silence” a branch emerges from a structure, bringing cracks onto its surface. Inspired by saint-poet Basavanna’s work “The Temple and the Body”, Iranna notes, “The emphasis is on the need to have an honest relationship between the body and the mind and draw from one’s inner energies”. It occupies the same room as LN Tallur’s “Recurrent Neural Network” that draws correlations between traditional and contemporary, animate and inanimate. If Sudarshan Shetty has red oozing from his repurposed teak wood camera, Arunkumar HG’s “Two Nature” projects how “the greedy man moved away from nature”.

An exhibit from the show titled “Things are Vanishing Before Us”. (Express photo by Tashi Tobgyal)

There is meaning to brick and mortar and buildings not mere structures in isolation. M Pravat’s “Cycle of Serial Fantasy” examines the architectural forms and materials through a fractured lens, juxtaposing diverse associations, from marble inlay to circuit boards and fired brick. Chandrashekar Koteshwar’s “Fragments” in stoneware appear as fragments of wall reliefs from the past, and Ela Mukherjee’s “Tribute to a Shared Past” draws inspiration from architectural influences over centuries as she urges for cultural preservation.

Artists also move into the domestic confines to document ostensible changes. If Purvi Sharma’s assemblage of objects in the installation “My Room” documents visuals of the space around her “with objects, to transfer the idea of identity, growth and uncertainty into a visual language”, Vinima Gulati’s “This is not my Kitchen” uses fabric to weave kitchen utilities, from the humble stove and mixer to a toaster.

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The exhibition at Bikaner House in Delhi is on till September 24.

Vandana Kalra

Vandana Kalra is an art critic and Deputy Associate Editor with The Indian Express. She has spent more than two decades chronicling arts, culture and everyday life, with modern and contemporary art at the heart of her practice. With a sustained engagement in the arts and a deep understanding of India’s cultural ecosystem, she is regarded as a distinctive and authoritative voice in contemporary art journalism in India. Vandana Kalra's career has unfolded in step with the shifting contours of India’s cultural landscape, from the rise of the Indian art market to the growing prominence of global biennales and fairs. Closely tracking its ebbs and surges, she reports from studios, galleries, museums and exhibition spaces and has covered major Indian and international art fairs, museum exhibitions and biennales, including the Venice Biennale, Kochi-Muziris Biennale, Documenta, Islamic Arts Biennale. She has also been invited to cover landmark moments in modern Indian art, including SH Raza’s exhibition at the Centre Pompidou in Paris and the opening of the MF Husain Museum in Doha, reflecting her long engagement with the legacies of India’s modern masters. Alongside her writing, she applies a keen editorial sensibility, shaping and editing art and cultural coverage into informed, cohesive narratives. Through incisive features, interviews and critical reviews, she brings clarity to complex artistic conversations, foregrounding questions of process, patronage, craft, identity and cultural memory. The Global Art Circuit: She provides extensive coverage of major events like the Kochi-Muziris Biennale, Serendipity Arts Festival, and high-profile international auctions. Artist Spotlights: She writes in-depth features on modern masters (like M.F. Husain) and contemporary performance artists (like Marina Abramović). Art and Labor: A recurring theme in her writing is how art reflects the lives of the marginalized, including migrants, farmers, and labourers. Recent Notable Articles (Late 2025) Her recent portfolio is dominated by the coverage of the 2025 art season in India: 1. Kochi-Muziris Biennale & Serendipity Arts Festival "At Serendipity Arts Festival, a 'Shark Tank' of sorts for art and crafts startups" (Dec 20, 2025): On how a new incubator is helping artisans pitch products to investors. "Artist Birender Yadav's work gives voice to the migrant self" (Dec 17, 2025): A profile of an artist whose decade-long practice focuses on brick kiln workers. "At Kochi-Muziris Biennale, a farmer’s son from Patiala uses his art to draw attention to Delhi’s polluted air" (Dec 16, 2025). "Kochi Biennale showstopper Marina Abramović, a pioneer in performance art" (Dec 7, 2025): An interview with the world-renowned artist on the power of reinvention. 2. M.F. Husain & Modernism "Inside the new MF Husain Museum in Qatar" (Nov 29, 2025): A three-part series on the opening of Lawh Wa Qalam in Doha, exploring how a 2008 sketch became the architectural core of the museum. "Doha opens Lawh Wa Qalam: Celebrating the modernist's global legacy" (Nov 29, 2025). 3. Art Market & Records "Frida Kahlo sets record for the most expensive work by a female artist" (Nov 21, 2025): On Kahlo's canvas The Dream (The Bed) selling for $54.7 million. "All you need to know about Klimt’s canvas that is now the most expensive modern artwork" (Nov 19, 2025). "What’s special about a $12.1 million gold toilet?" (Nov 19, 2025): A quirky look at a flushable 18-karat gold artwork. 4. Art Education & History "Art as play: How process-driven activities are changing the way children learn art in India" (Nov 23, 2025). "A glimpse of Goa's layered history at Serendipity Arts Festival" (Dec 9, 2025): Exploring historical landmarks as venues for contemporary art. Signature Beats Vandana is known for her investigative approach to the art economy, having recently written about "Who funds the Kochi-Muziris Biennale?" (Dec 11, 2025), detailing the role of "Platinum Benefactors." She also explores the spiritual and geometric aspects of art, as seen in her retrospective on artist Akkitham Narayanan and the history of the Cholamandal Artists' Village (Nov 22, 2025). ... Read More

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