︎
AYESHA SUREYA



exhbition 

‘divine angel of discontent’
(2023)

 


Iron, tumeric dyed unbleached Khadi cotton, madder, marigold, cutch, nutmeg, cinnamon dyed thread.


Shown at Khari Bouli market - the biggest spice market in the world. Prompted by Amitav Ghoshs “The Nutmeg Curse’ 
20 mins duration







Residency

Al.ter Residency - Jaipur  
‘webs of woven wind
(2023)






Wearble iron dyed, batiked khadi cotton, zari thread tapestry









Metal/jewellery

‘Devas’ 2023

In this surrealist body of wearable metal pieces, each one is born from the iconography and cosmologies presented around Hindu deities and their physical forms - mirroring the jewellery and name itself. 
Made through digital formations, each jewel is evidence of a creative synthesis of ancient drawings with modern techniques - creating a new mythology that enables us to interact and relate to a world remote from us. Combined with this is a sense of haptic healing portrayed through the simulation of touch - mimicked through the Mudras as sacred hand gestures adorning the body.


The photos are tinged with inspirations derived from old Indian chromolithographs from India's colonial era, which historically helped to democratise depictions of Hindu cosmologies.

Directed by Ayesha Sureya 
Shot by Ritika Singh

The ancient Vedas, written in Sanskrit allude to their gods as Devas, meaning celestial and benevolent beings also referred to as the ‘shining ones

Costume/Jewellery 

Mya Mehmi
‘Parivaar’ video (2022)

 


3D/moving image

‘touching time’ (2022)










3d animation


‘Kali Ma Decsent’
(2021)


2021, 3d Animation, Blender 


The animation I submitted in collaboration with friend @tranlkelly, alongside the jewellery was an interpretation of that history where I imagined her power as not only a goddess but a รꌦ๓๒๏l, to illuminate the illusion of colonialism as she descends from a red and blood filled sky to shine light on the land.
One key point of research for the Kali ring was the reinvention of her tongue which once was symbolic to one side of her once controversial duality.
During the growing dominance of the British in Bengal in the 1800s, due to the East India Company - which had become a military force there - Goddess worship (specially Tantra) informed British missionaries where they sensationalised India of being corrupted by black magic and sexual depravity. They said that “they worship the bloodthirsty Kali whom they seek to perpetuate by sacrificing in cold blood as many as they can”; which justified imposing stricter controls over the local communities.
The Great Rebellion of 1857 which started out as a military mutiny against the EIC, escalated and the Bengali revolutionaries harnessed Kali Ma’s radical potential to play on British paranoia. Prints and paintings were sold to locals promoting Bengali revolutionary politics and anti-imperialism and she was reimagined specifically as figure of resistance and symbol of an independent India without the British.