In Gentle Bitch and Cry me a River (both 2019), Kher adheres bindis in varying shades of blue and black onto shattered mirrors, accentuating the cracks rather than covering them up. While these mirrors line the walls of the gallery, Kher’s “Intermediaries” series of clay statue assemblages are scattered throughout the exhibition space. For these works, she breaks found objects, then combines mismatched fragments, creating new configurations that fuse the divine with the kitsch and mundane. In Self-portrait (2019), Kher presents herself as a vertically sliced statue of Saraswati—goddess of knowledge, music, and art—but half of the deity is replaced by a curving abstract sculpture.
Kher’s borderline iconoclastic process continues in Mr and Mrs from Model Town (2019). In the piece, a smiling pomegranate replaces the head of Parvati and a beheaded Shiva is joined with the body of Ganesha, resulting in a new family unit. Altogether, Kher imagines a multitude of possibilities from the chaos that she creates.