Studio Shot : 2022 | Clicked by Harmeet Singh Rattan | Kaladham Greater Noida
My work is derived out of an awareness that we live in multiple frames of time overlapping each other,
and the works are a product of time. The attempt is to live by participating in all the time frames....
“Art is not one thing; it is many things. To think it is a single form that implies that it has a monolithic characteristic,
this implication cannot be defended in the light of understanding of complexities of art or the nature of the man”
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-Krasue, Joseph H. The nature of art. Published by Prentice-Hall, 1969. ISBN 13: 9780136104773 (pg 4).
About
Aditi Aggarwal | (b. 1987, New Delhi, India) Visual Artist | Lives and works in New Delhi NCR
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Aditi Aggarwal is a visual artist whose practice spans painting, bookmaking, collage, and alternative photographic processes. She lives and works out of Studio A 89, Kaladham—an independent artist-led space she co-founded in Greater Noida, Uttar Pradesh, dedicated to exploring painting and analogue image-making as contemporary forms of inquiry. She holds a PhD in Visual Studies from the University of Delhi.
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Artist Statement
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My practice is an inquiry into the layered conditions of contemporary life, shaped by overlapping temporalities, urban fragmentation, and ecological memory.
I understand that we inhabit multiple frames of time at once, and in this context, I treat image-making as both an archival and durational process.
The passage of time is not only embedded in the final image, but in the making itself: slow, repetitive, and physically enduring. I see the act of creation as an endurance game—demanding patience, sustained attention, and a willingness to sit with uncertainty.
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Three core denominators define my work:
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1. Time as Material and Method:
Time is not a backdrop but a living medium. Through layering, erasure, and return, my works accumulate traces of time, offering slow, quiet resistance to the culture of speed and spectacle.
2. System vs. Sentience
Using grids, repetition, and muted palettes, I explore systems of control and conformity. These are interrupted by hand-drawn or embroidered forms—bones, insects, plants—that assert fragility and life, complicating the visual surface through tactile, embodied labour.
3. Image–Text–Surface as a Political Terrain
My work operates at the intersection of image, language, and surface. It explores themes of inclusion, ecological grief, affective states, and narrative fragmentation. Rather than resolve, I hold space for ambiguity, tension, and dissonance.
Each artwork becomes an evolving document, marking transformation, endurance, and refusal to be reduced to a singular meaning.
By resisting immediacy and clarity, I create a space where images can breathe, time can stretch, and fractured lives can briefly find alignment.
