CV (SELECT)
EDUCATION
2018:
2015:
2013:
2012;
SOLO SHOWS
2026:
2025:
2024:
2023:
GROUP EXHIBITONS:
2026:
2025:
2024:
2023:
Full CV is available Upon Request.
The Glasgow School of Art, UK
The Royal Drawing School, UK
The Gray’s School of Art, UK
The Academy of Fine Art, Prague, Czechia
There Is No Beginning As There is No End, Collective Gallery, Edinburgh
Wherein Difference Lies, Post Times, New York
Amidst Relations, Patron Gallery, Chicago
In The Absence of Pleasure,
Village Gallery, Leeds
What Happened To Remain Unsaid, Maximillian William, London
Drawing Biennial, Drawing Room, London
A Person, Chosen, Named or Honored, Patron Gallery, Chicago
Teague’s Path, Galerie Timonier, New York
Under Lunar Influence, Cabanon, Paris
Talisman, Cardion Arts, London
Drawing Room, Vardan Gallery, Los Angeles
Situational Attempts, The Artist Room, London
The Drawing Biennial, Drawing Room, London
White Columns, Annual Benefit Exhibition, New York
The Ingram Prize, Cromwell Place, London
Like Paradise, Claridge's Art Space, London
Trinity Buoy Wharf Drawing Prize, London (touring), Uk
Platform, Trintiy Apse, Edinburgh Art Festival, UK
01
There Is No Beggining, As There Is No End
Collective Gallery
Edinburgh
2026
Art Photographs by artist.
Installation photographs copyright Eoin Carey provided courtesy of Collective
There Is No Beginning, As There Is No End
Material: graphite on paper; coloured pencil on paper; cast pewter and stainless steel; carved limestone; clay, acrylic, and limestone dust on paper.
Year of Production: 2026
“There Is No
Beginning, As There is No End” takes as its premise from a rhetorical framework
devised from a constellation of Jasbir Puar’s “Terrorist Assemblages” and
Anjali Arondekar’s “For The Record”, in which (homo) sexuality has been used historically
and contemporaneously as both cudgel and shield and Indrani Chatterjee’s “Abolition
by Denial” and Jyoti Puri’s “Sexual
States” which thinking about the legal infrastructure created and deployed for
the aims of creating, managing and transferring populations between carcerality
and novel means of of fiscal productivity.
.In negotiating how homophobia in South Asia in the past
was ascribed in an orientalist manner of cultural-political atavism she posits
how co-ordinated ascription was used strategically over the Indian subcontinent
as means to justify fiscal and social domination. Arondekar states, and other
historians interested in “queer genealogies” like Boone (The Homoerotics of Orientalism)
and cite orientalist figures and actions
like those of Richard Burton, and his alleged reports of a male brothel in
Karachi (now Pakistan) amidst others on the criminal acts of “racial groupings” and “sexual degenerates”
of British India formed part of such strategies of divide and rule, in addition
to obscuring the larger violences of colonial rule such as those formed through
the supposed abolition of slavery (as noted by Chatterjee this was applicable
only to those who generally worked in agricultural fields, or were bonded to
sacred lands) in creating new forms of criminality for the like: proscribed
gendered embodiment, vagrancy, compulsed
labour on plantations in both Indian subcontinent, The Dutch East Indies, and
The Carribean.
Puar’s work on the other hand, famous for its coinage of
the term pink-washing and homonationalism, remarks on how religious orthodoxy
and its observers particularly those interpolated as minorities within (the
state) have (their un-acceptance of liberalised) sexuality used as a weapon. In
acknowledging Puar’s work noting the weaponisation of sexuality, the work
focuses specifically in the wake of the repeal of India’s Section 377 (the
penal anti-sodomy law). Yet, in a acts of political triangulation by theorists
like Jyoti Puri have stated minority communities were both often
disproportionately targeted under the repealed law, and subject too to
extrajudicial harassment by state arms.
Sat under a former observatory in Edinburgh’s Calton
Hill, a site integral in the development of British Enlightenment Ideals and one
of the cities the benefitted most from Empire’s consequence, the gallery
contained by architecture and fortressed stone walls – it pushes against a
rhetorical strait that often lacks thoughts about the recursive consequences
of Empire.
The subsequent work
of “There Is No Beginning, As There Is No End” considers how the modern of
state of India using the remaining religious statuary of Hindu temples as an
example of cultural-religious hospitality whilst simultaneously erasing the
Islamicate textual and visual precedents. In positioning an un-ending
continuation of how sodomy/ (homo)sexuality has been both subject of state
violence and itself been used as a rubric of violence, the exhibition explores
motifs that find itself entrenched in the violent apparatus of state devised by
the extractive colonial state - and its intended subjects: labourers, chain