Dagad II, Oblivious Grounds

In 2021, Swapnil Godase held a solo exhibition of his sculptures: Dagad.  He began the note by working on the bare geometric dimension, ‘dagad’, a pared down, four sided triangular 3D archetypal form that traced the displacement of geological elements like the pebble, the stone, a hillock or a mountain.  Reflecting upon the politics of cartology as expressed within the transitory spaces of the tangible and the abstract, while sustaining the tradition of the material and visually documenting the constant changes/metamorphosis that happen on the topography, both natural and man-made, Godase simulates the same ground in this exhibition—albeit this happens through a fatigued consciousness which seems to ponder upon issues of hope and thus a possible utopia.  How does such a diaphanous intangibility, entwined with the ineffable musings of an abstract conscience and nestled within his trikon strive to manifest a nascent realm of tangible reality?  Possibly through a surreal method, and evocative surfaces that more than speak of concerns and impending calamities, disclose the constantly shifting and impermanent realities.  Do we notice the changes to the land around us or has our gaze become oblivious?

Dagad II: Oblivious Grounds, is an exhibition that collates site specific works, wall metal repousse works, and a sound installation to collectively notice his observations of diverse grounds – thoughts, disavowal, cacophony, control, allowance, interactivity, navigation and oblivion.  The mediums are copper, steel, aluminium, found objects, natural elements.  Critiquing the conventional exhibition space, the site specific installation, apart from re-creating the terrain, invoke awareness, emotions and conditioned fear, usually placing the visitor into a state of constant rejection or want. 

Text by Urvi Chheda

From the topographical sense of touch to the audibility, the cacophony heightens the disapproval through the streaming and merging chaos of everyday sounds or what we usually react to as ‘noise.’ But when did everyday sounds transform into noise? What oblivious moments did not allow the listener to witness this sudden conversion or gradual transformation? The sound installation recreates these moments to reverse the states of oblivion into an aware act of focused listening.

Text by Urvi Chheda