I'm interested in representation that falls outside of what would be socially appropriate, or acceptable, or beautiful. The world is going through a very fundamentalist moment. You have right-wing politics and misogyny and religion employed together everywhere - here in the US, with issues like abortion. Religion is a very fraught and complicated topic, but at the same time, like all grand historical narratives, there is a potential for challenging, or rethinking the kinds of subjectivities that these meta-narratives produce.

I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.

I'm more interested in moving toward writing stories - thinking about the graphic novel form, and just something more long-form. I did a lot of literary translation in college. Translation is an art. But for sure writing has always been a part of how I think through my ideas.

It's interesting to think about connecting the dots within an archive in a different way than linearly or teleologically. It's a great delight to make art or use language or just have ideas, and put them together in a very unexpected way. Art gets categorized historically, geographically, by medium, not necessarily by concept or repeating imagery, or feminism or femininity.

I love working with younger people. I feel like we need to catch up with them. In South Asian art it's important to address the fact that the majority of what we see is Hindu, and based in Hinduism, and that it has a social and cultural history. Islam and Muslim culture are often now figured as these outside invaders who came into India, and this is in the service of a more right-wing nationalist discourse that is Islamophobic. And that's part of the worldwide Islamophobia moment that we're having right now.

I think that in the diaspora, and among immigrants, religion becomes a vehicle for the transmission of cultural information, and cultural codes, and this does end up re-inscribing certain things about the religion - like caste. Caste discrimination and hierarchy are still a very fundamental and violent part of Hinduism. My family was upper caste, and that was very clear. I feel like caste and religious practice are inextricable, actually.

I'm interested in representation that falls outside of what would be socially appropriate, or acceptable, or beautiful. The world is going through a very fundamentalist moment. You have right-wing politics and misogyny and religion employed together everywhere - here in the US, with issues like abortion. Religion is a very fraught and complicated topic, but at the same time, like all grand historical narratives, there is a potential for challenging, or rethinking the kinds of subjectivities that these meta-narratives produce.