
Room Without Walls by students of CFA in Thiruvananthapuram is a coherent display of diverse identities
Memories and the Objects We Keep by Vishnu aptly sums up the art showcase by the 14 artists at the exhibition — each installation and its nuances are a slice of their story, harmoniously brought together.
The works are by Adithya S Kumar, Amal Jith OJ, Amal Lal Puthukkudi, Athul KP, Chandan Gour, Jinto Bijo, Nithin Das MV, Rahul Buski, Rahul PP, Rajaneesh KK, Sabhin SS, Sandra Thomas, Shajith RB and Vishnu. The week-long exhibition, which began on July 25, explore the idea of socio-political structures and spaces through body politics, caste, ecology, individualism and so on.
Sabhin, 'a Dalit-Christian artist', sees his work as 'a combination of art and activism'. His installation combines raw materials sourced from his hometown, Neyyattinkara, with multimedia elements made from archival footage on Dalit Christians. Set in two dark rooms, Sabhin reconstructs the building blocks of his identity, such as surroundings, occupation and so on, among others; government documents on display point out the labels thrust on him at birth. Rubber, in its unprocessed form, acts as a leitmotif, shedding light on the generational occupation. 'My work is part of a documentation, be it a painting or a video or an installation, it is about visually representing a particular memory,' says Sabhin.
Rahul Buski puts his tribal identity on display, born out of cultural memory, social struggle, and reality. His works deal with the Muthanga protests, which happened in Wayanad in the early 2000s against the delay in land allotments to the Adivasis. Rahul documents the incident and places it in a larger context of caste discrimination. While the paintings display the community's experiences, the interspersed photographs reveal how the public construed the matter.
Sandra and Chandan showcase a variety of techniques in their sculptures, utilising different media and themes to set up their installations. The life-size installations made of newspapers by Sandra on people in their mundane roles are a result of the pandemic, when she was looking for raw materials at her home. 'Earlier, it was just a set of objectives I interacted with in my daily life; then I shifted it to people,' she says.
Her sculptures were created with moulds shaped with the help of her acquaintances. It is strengthened with paper pulp, sawdust and paper glue. 'The layers of newspapers are treated as layers of skin,' says Sandra, who sees sculpting as a way to recreate people physically with the help of a mould.
Also read: Art flourishes here despite odds
Chandan from Jaipur, Rajasthan, attempts to look beyond the physical body and represents it as a moving compilation of experiences, memories and inner struggles. His sculptures comprise fibreglass, form and terracotta. His work, Broken but Safe, is a portrayal of a universal struggle in an unstoppable world.
Migration by Nithin observes the paradox of stagnation and movement through the lens of migration, about people cursed to run in circles, without moving forward. Displaying a unique structural language, his installations are distorted reproductions of the world, filled with unapologetically 'crude or vulgar' imagery, cautiously placed.
Three-time Kerala Lalithakala Akademi award winner, Shajith, part of this MFA batch, has displayed works from Wiping Out, a series of oil, watercolour and acrylic paintings, about different signs of ecological degradation observed in his hometown Kannur through the appearance of fauna such as a peacock, which appears in one of the works. 'I specifically look at Malabar for its distinct ecosystem and architecture, which I bring to my work,' says Shajith.
The paintings with long, rough brush strokes were made by the artist by attaching the paintbrush to the end of a stick. 'This adds to the performative nature of my art, as I am a theatre artist as well. For me, it is a performance when I paint and another performance when I display the finished painting.'
Room Without Walls is on at College of Fine Arts, Thiruvananthapuram, till August 3. Time: 10am to 8pm
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New Indian Express
16 hours ago
- New Indian Express
Meet Revathi Ganesan who ships hand-made rakhis to the Indian Army
With tears in her eyes, she recalls the moment a jawan broke down as she tied a rakhi around his wrist in 1998. She also recalls how many of them emptied their pockets in return. Her voice quivers as she says softly, 'That was the moment that became my motivation to continue.' She also recalls the first time she sent rakhis to the Wagah border and how it all came together serendipitously. Just as she was looking to ship them, an unscheduled army chopper happened to be heading there with supplies. 'That's how I knew it was meant to be,' she says. 'I also stumbled initially thinking if the packets would be accepted by the Islamic and Christian brothers in the Army, but a friend from the Navy encouraged me to go ahead with it saying that they would accept it since the Indian Army has no religion,' she adds.


Time of India
3 days ago
- Time of India
Minority outreach: KSOU to provide free education to 3k students
Mysuru: About 3,000 students from minority communities are now eligible to receive free education at Karnataka State Open University (KSOU). The state govt has set aside Rs 5 crore for the scheme run by the minority affairs department. Professor Sharanappa V Halse, the vice-chancellor of KSOU, told reporters on Friday under this new initiative, students from the Christian, Jain, Sikh, Buddhist, Muslim, and Parsi communities are eligible for free education. These students are free to join any undergraduate, postgraduate, or diploma course. The total outlay for the scheme is expected to go up to Rs 10 crore next fiscal year, Halse said. In response to a query on gross enrolment ratio at KSOU, the VC said the number has been on the rise. Earlier, open and distance learning education was provided based on age criteria, but courses are now being offered to all those who have cleared pre-university education. Halse said about 36,000 students took admission in 2021, 44,000 in 2022, 61,000 in 2023, and 76,000 in 2024. In the current year, around 77,000 have enrolled for various courses. KSOU has set up regional centres across Karnataka to further increase intake. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like TV providers are furious: this gadget gives you access to all channels Techno Mag Learn More Undo So far, Yadgir, Vijayapura, and Udupi districts have responded positively by providing the required land for setting up facilities. KSOU currently has 38 regional centres and 130 study centres. Halse said the KSOU has been providing free education to visually challenged students and those orphaned during the Covid pandemic. In the 2023-24 academic year, about 79 students, including 71 visually challenged, took admission. In the current academic year, about 43 candidates orphaned during the pandemic, and 65 visually challenged students have enrolled for various UG/PG and certificate/diploma courses. New courses Currently, KSOU is offering 79 different courses. From this academic year, the varsity is offering a course in Jyotish Shastra (Vedic astrology), enrolment for which is already on, the VC said. Meanwhile, KSOU, in association with the National Skill Development Corporation, will offer industry-mandated courses in artificial intelligence and machine learning, data analytics, AR/VR/Meta, cloud computing, cybersecurity, Internet of Things, industrial/home automation, robotic process automation, and semiconductor design. Get the latest lifestyle updates on Times of India, along with Friendship Day wishes , messages and quotes !

Time of India
3 days ago
- Time of India
Canvas of unrest
Artist Rahul Buski turns resistance, memory and identity into powerful visual expression When a young artist like Rahul Buski creates paintings that deeply resonate with the Adivasi community's enduring struggles in Kerala, it is not coincidental but strictly personal and profoundly political. An Adivasi from Wayanad, Rahul's creative vision is rooted in stories of resistance and oppression that he heard growing up—especially from his father, Ramesh, one of the key leaders of the Muthanga land agitation. These formative experiences have deeply informed Buski's artistic journey, lending his work a rare urgency and authenticity. Now an MFA graduate from the College of Fine Arts, Thiruvananthapuram, 27-year-old Buski's work focuses on documenting and interpreting traditional Adivasi art forms. His paintings uncover multi-layered meanings and cultural contexts, exploring how these practices can become powerful tools of resistance and renewal. When I paint, I use my body as a brush—often without even realizing it. Every stroke carries emotion and memory,' says Buski. 'While working on paintings about land struggles, I could feel the pressure building in my arms. I incorporate land, identity, and indigenous struggles in my artistic practice.' His paintings are not just about visual expression—they are extensions of his lived experience as an indigenous artist. 'My creative journey arises from the intergenerational realities of land alienation, cultural marginalization and ecological disconnection—conditions historically imposed upon Adivasi communities in Kerala,' he says. A striking feature of Buski's work is his use of the stroke—not just as a technique, but as a symbolic and political gesture. 'I employ a wide range of strokes—short, long, structured, chaotic, cross-hatched—depending on the emotional resonance of the subject. These strokes are not merely aesthetic marks but performative acts that construct meaning through rhythm, pressure and repetition. They give form to the fragmented histories, anxieties and resilience of my people.' He draws inspiration from the daily life of Adivasi communities—their rituals, resistance and cultural expressions. Several of his paintings engage with key events such as the Muthanga struggle, Chengara land agitation, Aralam protest and Nilpu Samaram. 'Such works not merely represent protest but participate in it,' he says. 'The aim of my art is to raise awareness, build empathy and provoke dialogue around civil rights, ecological justice, caste-based oppression and indigenous autonomy.' Artists like Buski do more than create—they intervene. Their lives and work are intertwined with the world they seek to change. Art, for them, is not a detached medium; it is the most potent language of protest. 'My art stands as a multi-layered testimony—a visual archive of ancestral memory, a record of present resistance and a vision for future justice. It arises from protest, from silence, from survival, from hope,' he reflects. 'It seeks to affirm the dignity of indigenous life, reclaim suppressed narratives, and envision a world where our land, voices and stories are not just seen—but truly recognized.' Any serious conversation around Adivasi communities remains incomplete without addressing their relationship with the environment—a connection at the heart of Buski's practice. His work captures the tense interplay between humans and nature, particularly in a state like Kerala where development often comes at the cost of forest lands and tribal homes. Among his paintings, Eucaly stands out—a vivid, layered work that portrays the ecological and emotional consequences of forced displacement. It speaks not only of loss but also of protest and deep-rooted connection to the land. Another compelling work is Thalum, Thakarayum, Ratti, which explores themes of displacement, identity, and resistance through the use of earthy tones and expressive figures. It vividly portrays the deep, ancestral connection between tribal communities and nature — a recurring thread in Buski's visual language. Akhiljith, lecturer in painting at the College of Fine Arts and a close observer of Buski's work, sees a deep, organic link between the artist's past and present. 'When the Muthanga struggle happened, Buski was a child. All his images are rooted in his community and childhood experiences. His images stand in opposition to elite visual culture. He uses black drawings and bright colours to communicate. His work is a visual translation of the issues faced by his community. Images of people without legs and heads symbolize resistance.' His paintings are currently on display at the MFA degree show '25, titled Rooms Without Walls, at the College of Fine Arts, Thiruvananthapuram. The exhibition is open until Sunday. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.