Mon 22 October 2012 – Fri 4 January 2013 at WATERMANS, LONDON

enter12 is Watermans’ annual exhibition of the year’s finest work by South Asian Digital Art and Design Graduates.

Hosted by Watermans New Media Gallery, enter provides a platform to showcase the emerging talent in the field of digital art, design and media production.  This year’s exhibition includes work that involves innovative processes and diverse material ranging from design, interactive installation, film, graphic and communication design.

The exhibiting artists have been handpicked from some of the country’s leading Institutes that offer unique opportunities in exploring digital art, design and innovative technologies. The selected artists take different approaches to the use of technologies in their practice in order to articulate their responses to contemporary issues in an innovative manner.

Selected artists

Deshna Mehta
Khalid Rafique
Samia Rajar
Owl and the Abacus
Akriti Devi

Selected artists

Deshna Mehta – MA Visual Communication, Royal College of Art
MA Graphic Design, London College of Communication


Passive traces of an ‘act’ive performance

If you think of acting spontaneously, it is no longer spontaneous because you are conscious of it. The only awareness of spontaneity comes from thinking about it as having happened in the past. The minute you reflect on the act of being spontaneous, you go back into the past and lose out on the present. In a spontaneous act, is it the death of the observer? Without an observer is there any observation? The nuances of these complexities surface in my (conscious) practice seeking for an answer, more often than not, only culminating into several questions. This pursuit led to the exploration of quantum physics and eastern mysticism expressed metaphorically through a performative installation.

What quantum mechanics says is that nothing is real and that we cannot say anything about what things are doing when we are not looking at them. Nothing is real unless it is observed …. and we have to accept that the very act of observing a thing changes it.– John Gribbon

Those who speak do not know, those who know do not speak.– Lao Tzu

What you will witness here is only a document, a re-enactment and a few traces extracted from the interaction with a performative installation which expresses that something’s cannot be documented or the act of documenting changes what ‘is’ being documented, therefore it ceases to be what it ‘is’. This installation is a ‘conscious’ attempt to ‘experientially’ bring forth the beauty and power of spontaneity(a moment that stems out of the sub-conscious/unconscious) embedded in the phenomenon of direct experience. For the very fact that it is a conscious attempt, it takes away from the act of ‘being’ or being spontaneous.

Therefore, a conscious contradiction.

More on:

‘The reverse side also has a reverse side’. Subjective objectification, objective subjectification.
Nietzsche speaks of this space stating; ‘There are no facts, only interpretations’, dampening his own statement for the fact that it may only be an interpretation. Democritus addresses a similar idea that ‘Nothing exists except atoms and empty space; everything else is opinion’, diluting his own stand for the fact that his is also only an opinion. When one is conscious of and a witness to this debilitation (dampening and dilution), a new space emerges, where distinct identities commingle.
Beneath the apparent word and image, lies a universality where differences unite and contradictions cease to exist.
This is a space devoid of separation where one can be busy, idling time, everything is nothing, absence is presence and presence is absence,
either, or, neither, nor…

For the sake of a single poem, you must see many cities, many people and Things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents whom you had to hurt when they brought in a joy and you didn’t pick it up (it was a joy meant for somebody else—); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet, restrained rooms and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along high overhead and went flying with all the stars, and it is still not enough to be able to think of all that. 

You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open window and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves—only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them.

Thank you Premjit Ramachandran for sharing this 

—Rainer Maria Rilke, from The Notebooks of Malte Laurids Brigge in The Selected Poetry of Rainer Maria Rilke, edited and translated by Stephen Mitchell (Vintage International, 1989

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At East Side Projects (Birmingham/ AND publishing/ Gavin Wade/ An Endless Supply)

As we discussed ideas, Lynn said I should make a book which just has shadow drawings of people. Referring to ‘To observe is to change’. This is exactly what I didn’t want to do. A document of it. The documentation of it in my opinion kills the ephemerality of it. It contradicts the work.

CONTRADICTION. This is where it started. Most of my work contradicts itself in the fact that the physicality or expression of it takes away from the experience and the intention of making it. It is a re-enactment but when you scrutinise performance and the ‘in the moment-ness’ of it, anything like a document (as or perhaps considering Lynn’s suggestion would make it fall flat. So now I’m after these threads of contradictions that weave through my work. The expression of these in a book which in itself would be a contradiction is what I’d like to play with and perhaps find a medium of expression that is appropriate to communicate them or otherwise be content with the realisation that there isn’t one, or at least I haven’t found it. (because I shouldn’t and should let it just ‘be’)

Contradictions do not exist. Whenever you think you are facing a contradiction, check your premises. You will find that one of them is wrong.

– Ayn Rand

After all, what would be “beautiful” if the contradiction had not first become conscious of itself, if the ugly had not first said to itself: “I am ugly”?

– Friedrich Nietzsche

I force myself to contradict myself in order to avoid conforming to my own taste.

– Marcel Duchamp