Radhika Khimji, ‘A lipstick snake got in the system’, 2018, Painting, Acrylic, oil, glue, gesso, digital print on paper, canvas, wool, Galerie Krinzinger
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Radhika Khimji

A lipstick snake got in the system, 2018

Acrylic, oil, glue, gesso, digital print on paper, canvas, wool
31 1/2 × 27 3/5 in
80 × 70 cm
.
Contact For Price
Location
Vienna
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About the work
Radhika Khimji
Omani, b. 1979
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The endurance of Orientalism, and the artist’s own struggle to define herself in terms beyond her Middle Eastern heritage, are among the central themes that animate Radhika Khimji’s collages, sculptures, and installations. Khimji’s work is a form of protest—against stereotypes and the commodification of cultural identity. In her “Shifters” series, for example, begun in the early 2000s, she merges painting and sculpture to create freestanding, anthropomorphic, cutout plywood forms, onto which she paints patterns that resemble skin, muscles, and bones. Because they are semi-abstract and deliberately ambiguous, Khimji’s “Shifters” defy neat categorization and are situated outside of the confines of fixed or imposed identities. As she explains: “I have found a language which plays with and dodges a cultural net which would make these figures easily understood and read.”

Radhika Khimji, ‘A lipstick snake got in the system’, 2018, Painting, Acrylic, oil, glue, gesso, digital print on paper, canvas, wool, Galerie Krinzinger
Save
Save
View
View in room
Share
Share
About the work
Radhika Khimji
Omani, b. 1979
Follow

The endurance of Orientalism, and the artist’s own struggle to define herself in terms beyond her Middle Eastern heritage, are among the central themes that animate Radhika Khimji’s collages, sculptures, and installations. Khimji’s work is a form of protest—against stereotypes and the commodification of cultural identity. In her “Shifters” series, for example, begun in the early 2000s, she merges painting and sculpture to create freestanding, anthropomorphic, cutout plywood forms, onto which she paints patterns that resemble skin, muscles, and bones. Because they are semi-abstract and deliberately ambiguous, Khimji’s “Shifters” defy neat categorization and are situated outside of the confines of fixed or imposed identities. As she explains: “I have found a language which plays with and dodges a cultural net which would make these figures easily understood and read.”

Radhika Khimji

A lipstick snake got in the system, 2018

Acrylic, oil, glue, gesso, digital print on paper, canvas, wool
31 1/2 × 27 3/5 in
80 × 70 cm
.
Contact For Price
Location
Vienna
Have a question? Visit our help center.
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