As one’s fingernails attain a certain length, the fingers itch to scratch the surface of the body. They scavenge the wax accumulated in the hair, in the black holes of the nose, in the unseen openings of the ears, filling the crevices between the nails and the fingers with residue. There is a further attempt to collect the dirt-wax from all the finger deposits and mould it into one form. One uses the little fingernail or a sharp tool to excavate these deposits. This act is carried out discreetly where questions on personal hygiene are not raised. The process is halted with the intervention of the nail-cutter (a fearful tool, always functioning at the edge of the skin and the nail), chipping away the dirt collectors with precision and caution, with one hand clearly having a hierarchy over the other. One cannot exactly specify the time when one becomes aware of the use of nails. The fingers become nails, transferring the unsaid thoughts – thus enabling this icky habit.
Similarly, thoughts grow into images, scratching surfaces for their deposited residue. The objects (collected residue) get rolled between two fingers unintentionally. The unnecessity of these object/beings makes one think about their existence. The tools (ideas and approaches) become redundant after the making of the objects like the nails that lie lifeless after being cut.
An alcove in a house stares back at the onlooker as a depression in the wall. What was the need to puncture the wall? It seems almost like the wall is resisting its straightness, as if losing its male virginity to the depression. This unneeded act transforms it into a procreative space – a permanently impregnated (space-belly) hollow from within, ever ready to copulate. Objects come in and out of the alcove, never to be born in it. Yet every time they occupy the hollow, they evoke meaning. The objects as the residue of the scratched surfaces have no entity if they do not occupy this space. When one walks the length of the wall one tends to fall into the
In his second solo at Project 88 that takes place after a gap of seven years, Shreyas Karle inquires into the notion of archiving the domestic. If the domestic space is viewed as a musuem, would it contradict the institution or become one? This exhibit is an extension of Shreyas Karle’s earlier project (Redux Redux: Enter by the side door) commissioned by the Aichi Triennial (Japan, 2016). Unnecessary Alcove is curated by the artist in three sections. The first section has objects that have the dilemma of being art works; the second section relooks at the idea of exchange and
the dissolving authorship through a series of five collaborations and the third section underlines the necessity of seeing. - Text by Shreyas Karle.