Current Work
BA (Hons) Painting, University of Arts London (Wimbledon college of Arts)


My work is grounded on the current zeitgeist of world politics, culture, identity and social justice with particular emphasis on the status of women. It is a way for me to think about the histories, cultures and back stories that shaped its current form. Being from India I have personally experienced some of the prejudices I highlight through my work. I employ materials such as wood, fabric, plaster, metal, wool, found objects, and clay to create unusual forms. I also work with text and use (sometimes self made) inscriptions and treat them like they are one of the many physical objects I use. This way my sculptures hope to build a dialogue with the architecture of the space to form a ‘cluster’. These clusters are fragile and poetic yet complex in character and make for compelling installations. My work is multi-disciplinary and involves materials with or without a multimedia intervention.

Each of my works is treated like a separate project and is approached using different perspectives depending on the theme, space that its being shown in, the materials used for it and how the viewer might navigate around it. In order to come to terms with the very different contexts in which they are made, I make structures that are related to the existing situation and yet at the same time point beyond it. The common thread that runs through all my works and research is that I am always trying to introduce an element in the process that is unfamiliar to me in my sculptures. Whether it is mixing materials, editing software, or playing with projections not knowing how to make it is a significant component of making it. Each of the works I make is a process of unraveling something that starts small with an idea or an image to something that takes on a personality of its own.

Truth Lies Somewhere Between Zero and One.

This installation is my attempt at understanding the current mood of the events in the world we are experiencing. In my quest for understanding I was introduced to the work of Jacques Derrida’s work and his contribution to the notion of ‘Post Modernism’. Postmodernism does not trust any one story or account to give meaning to all of life. It rejects organized religion, as it is a story of human life, what it means to be a person, right and wrong, good and bad. Any type of story that says it has the meaning of everything is rejected by pm. So its not a rejection of truth but a rejection of totalizing truth. For someone who thinks they have figured out all aspects of human life. It does not recognize one capital T truth as in something that is universal, something that has to be accepted or you are considered irrational. Derrida through his ‘deconstruction’ says postmodernism is the quest for justice. It is afraid of people who have power over a single narrative about T (Truth). It is sympathetic to the marginalized, those that do not have the power over the T narrative. Truth is constructed not discovered. Deconstruction is to take a text and pull it apart. He is saying this but could mean that. We invent these things called binaries.. good/bad, right /wrong, gay/straight, are fake. Why should people pushed to these extremes.

I have used plaster, metal, wood, paper, clay, stone and fabric in the making of this installation.

Bending of Time

In this work that is still to be completed, I wanted to explore the cyclical nature of time and relationships. I always wanted to express but not in a sentimental way, the surreal nature of how time’s unrelenting movement away from us and how we have to catch ourselves at certain milestones to remind ourselves of time going by. I wanted to capture the essence of one such milestone.

I enlarged an old photo of mother that was taken just before I was born and made an installation of superimposing a video of me standing (still) in front of the life sized photograph. When the one minute video ends and loops again there is a pause of 3 seconds where one can glimpse the photo behind me just for those two seconds.

I referenced my mother here because I feel really that the post partum state is never over. It is in a space of continuum, the child and mother moving further away, always connected, ever closer, always in flux. I look back into the past trying to make sense of the chronology of events, relationships with a sense of regret and pride but look ahead looking forward to my own child’s future and her possibilities and adventure.

Shorthand of Truth


This work is a continuation of my earlier work called ‘Truth is somewhere between zero and one’. I work with text, including text that I create like faux language and use them as objects and images in my installations. This is my attempt to address the so-called ‘post fact ‘ age where opinions and arguments are rather unmoored from demonstrable truths about the world. The last decade has seen an explosion of the ubiquitousness of social media in our lives today. News spreads through the internet unchecked and uncontrolled without anyone knowing where they originated. Nobody tracks your reliability. We are back in the world of rumour and gossip. ‘I believe what I read because I trust the people I have chosen to follow‘.

I wanted to express this idea by using Pitman Shorthand (which is now) a very dated way of capturing information fast. It has a distinct script of its own that is legible to only those who have learnt it but is indecipherable to people who have not. I used two layers of tracing paper top having the shorthand script reminiscent of Persian calligraphy and this was draped over the layer with English text on it. The length of the scrolls is five metres and this was hung from the ceiling down to the floor. From a distance one can only read the shorthand ‘letters’ but as you go closer the English text becomes more legible though faint as it is stood behind the first layer of paper.

© 2020 DIYVA SHARMA | Artist | London

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