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Ranu Mukherjee: Shadowtime

Ranu Mukherjee: Shadowtime

Love in Shadowtime, 2016, pigment and milk paint on paper, 59 1/4 x 90 inches (150.5 x 228.6 cm)
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Ranu Mukherjee
Shadowtime
May 18-July 1, 2017

Opening Reception: Thursday, May 18, 6-8PM

For her third exhibition with Gallery Wendi Norris, Ranu Mukherjee presents a new body of work including video installation, paintings on paper mounted on canvas, and textile collage. In response to a recent rise in visibility of white supremacy groups and isolationist rhetoric, Mukherjee focuses her attention on the evolution of interracial relationships. Through portraiture and abstract paintings, Mukherjee evokes a sense of joy and unease. Her work mixes concepts of love, cultural hybridity and contradiction to evoke a pathology of hopeful yet apocalyptic cognitive dissonance.

In her work, the artist further explores how we live in a never-before-experienced “shadowtime.” A word coined by the artist in collaboration with the Bureau of Linguistic Reality, “shadowtime” expresses the concept that one can live in concurrent yet contradictory timeframes. For example, as one works on a daily, goal-oriented timescale (e.g. preparing children for school) one can simultaneously have their mind overrun by another overarching timescale (e.g. the time it will take for climate change to inflict irreversible and cataclysmic damage to society).

The oeuvre of Ranu Mukherjee (born 1966 in Newton, Massachusetts) comprises video works, ink paintings and collage on paper, printed and painted wall mounted textiles, and collaborative sound projects. She draws on a mixed aesthetic heritage to embody the role of creolization in the construction of culture, often bringing together narratives of cultural migration and ecological transition. Her projects involve research and the culling of visual content from diverse sources ranging from 19th century Indian lithographs to current events. Occupying the fragment as a generative space, she makes and unmakes images through layering to create amalgamations that allow for an unlocking of the senses and willful interpretation of past-future trajectories. Mukherjee explores states of excess by drawing links between present day global capitalism and cultural stereotypes still residual in our collective psyche.