In these works, interiors from a house in Kutch, Gujarat, have been meticulously reproduced in sections on outsized canvases, with dimensions made to fit the venue’s architecture, providing the viewer with a to-scale perspective. These interiors and others from subsequent installations, feature a particular middle-class Indian home from a certain era, now perhaps being superseded in the big cities by new apartment buildings with their globalised aesthetic. Rooms painted salmon pink, turquois blue and mint green, house glass fronted cabinets containing novels bound in newspaper, curios and terracotta gods, valuables are locked inside Godrej cabinets, and wall mounted boilers, air conditioning units and cumbersome television sets speak of technologies from previous decades. What these paintings depict as a common vernacular is in counterpoint to personal elements such as the framed footprint of a grandparent or the photograph of a grandchild. The inhabitants who once breathed life into these objects are absent, the house has been turned inside out with its minutiae exposed to the forensic gaze of the viewer in the brightly lit environment of the gallery. Are these works supposed to be read as nostalgic, sentimental, touching, voyeuristic or anthropological? Through this particular staging, the artist turns the question back on the viewer, who inhabits the installation like an actor walking through a set. 

— Grant Watson