Sabyasachi Bhattacharjee
Sabyasachi Bhattacharjee

The identity that we perceive of ourselves, and that's being assigned to us, where do we reside in that duality, to produce the proof of our existence? The self, the body, and the mind, at the converging point of these three, what is the role of any external force? As the world around us continues to shape us, slowly and daily, how do we resist it? During the course of two and a half months at the residency space at Incubator, Vadodara, these dualities remained constant, whether in relation to the world around me, my inner self, or the relationship between the two. The residency space at Grass Court Society became that point of convergence, where the ‘self’ tried to look inward from those vantage points. The works were shaped individually as multiple formal, visceral, and conceptual inquiries took shape simultaneously, yet the space became a walk-through environment for all these ideas. The experiments with the visual & materials were shaped around the staircase, windows, and different corners of the house. The works individually remained within its periphery of gazing at the recurring time, the site became a place to look back towards the self. The idiocentric approach took the form of drawings, excerpts from the screenplays I wrote & photographs from family album, of performances at my father’s theatre group, and the film sets I’ve been at most of the last eight years. The storyboards, animation plates, costumes, props and a shrine under the staircase; all that and the almost cosmetic positioning of the self, within the works as well as outside of them. The site was trying to accommodate these fragments, while the self once again looked outwards.
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After Party stages a gathering on the night of Doomsday, a fantasized interval between catastrophe and judgment. Framed as a theatrical sequence of acts punctuated by interludes, the work brings together “the common” while questioning whether such common ground truly exists. The performative body operates as both vessel and metaphor, carrying cultural contexts and historical tensions. Against a backdrop of war-like uncertainty and social unrest, the piece reflects on the perpetual workforce that sustains the social engine. Celebration and collapse coexist, exposing collective anxiety through choreographed endurance and fragile communion. This body of work is a part of the process that emerges from a long-term engagement within my practice, rooted in translating the theatre experiences of my formative years into a visual and spatial language. It seeks to construct an amalgamation of visceral, performative narratives that oscillate between the self and the other. There are various moving components within these works that takes shape with personal narrative and ever evolving cultural, geo-political context.

This body of work examines erasure and omission as deliberate political acts. Moving through fragmented visuals, it reflects on polarized belief systems shaped by religious dogmatism, communalism, and propaganda. Conflict lines that are territorial, ideological, and psychological unfold alongside histories of migration and refugee displacement. Acts of removing forestation to engineer the collapse of a civilisation function as metaphors for eco-terror and capitalist greed. Within this climate of control and silencing, the silencing of journalists emerges not as an anomaly but as a symptom, exposing truth as a contested and burnable surface. Does the olive branch still symbolises the cessation of hostilities and restoring harmony?

Two slits in a mirror let a section of light pass through, and the rest reflects. The single source of light is the projection. This visual experiment recontextualises the double-slit experiment in the context of looking into the polarization & paradoxes of our time. A fire in the middle of the street; two visuals spread across various public domain, looking very much alike from a distance, without their context. Whereas one image is of a festive celebration, the other is of violence being celebrated. The slits are between many truths. Whose truth are we looking at? And what is it that keeps them afar while occurring simultaneously? The part that gets reflected in the mirror, the text of Einstein’s God Letter, appears simultaneously with the visual within the slits, from various news sources and personal audio-visual journal. On the mirror are cracks scratched out from the back, by tracing many conflict borders, to allow light to leak through them. The slits are within our realities and coexistence, trying to make a portal.
The wasteland underneath is a manifestation of the ongoing and interconnected stream of thoughts, memories, and emotions experienced across time. It absorbs everything, becoming a vast repository of the forgotten, discarded, and overlooked fragments of existence. The wasteland is not static. It continuously witnesses the passing of time, while at the same time shaping and creating its own memory. This memory is not neat or linear, it is chaotic and fragmented. It is the hoarding of leftover moments, emotions, and experiences, none of which can be separated from the whole. The state of chaos is eternal, and in this infinity, the parts are entangled in a delicate dance. In this landscape of entropy, the question arises: if the parts of chaos never truly detach from the whole, how do they coexist within the greater order without dissolving into nothingness? Can there be an answer, or are there only witnesses to this phenomenon?
“For a long long time, on the surface of the Arabic sea a group of diatoms kept drifting. When the sun burned bright they prepared a feast for everyone. They wanted to go to the land beyond the horizon. So one day they joined water molecules for a journey up the atmosphere to the clouds. They shined all day up there, and everything underneath was less warm. The wind carried the cloud towards the east to a far off land, where they reached above Jampui hill, the land of ranges. They rained above the Betlingchhip and joined everyone for the orange fest. And today when they drifted in the Juri Nodi about 100 feet, they witnessed a farmer burning a hill. Smoke and ashes travelled towards the plains. The light of that flame are traced in their memory. The light that they might carry back to the Bay of Bengal where they will sink to the dark ocean bed.”
This drawing was developed during the course of two months of my residency in Pepper House, Kochi. It responded with the surrounding of Fort Kochi with the gaze outwards at the back water from the windows of Pepper House. It was a response towards the chaos of the time, that we collectively transitioned through the months, from December 2019 to March 2020. The act of drawing regularly on the cloth became a ritual to register the time on it like a journal. And the memory of that time observed by the drifting diatoms in the sea. Phytoplankton are the base of the aquatic food-web. Alive, they are in continuous drift on the water surface. When they die they sink to the ocean bed. Individually, their existence is thin. Amass, their existence is critical. These micro-organisms enter the work as traces images, figures and metaphors that, when placed together, become part of a never-ending drift. There is paradox in the images: they are both moving and static, significant and mundane, contradicting and complimenting, illustrative and obscure. However, on the surface of the cloth, they emerge coherent, allowing to develop a dialectic between the individual & the collective, organic & inorganic, and order & chaos.
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