Selected works by Kriti Arora

Kriti Arora
Tar Man 5

2008

Fibreglass and tar

176 x 72 x 63 cm
Tar Man 5 is a sculpture informed by the working men that Arora encountered along mountain routes through Kashmir. For Arora, roads are the social arteries that connect this region to the rest of the sub-continent. The struggling allegiance of men working tirelessly to re-cultivate the land for profitable redevelopment is the subject of her investigations. Unlike classical Indian statues or modelled deities, these very ordinary men are covered from head to toe in a suffocating layer of black tar as a demonstration of the almost incomprehensible work that is required to change India. The tar-man is emblematic of a continent seeking social and political change.
Kriti Arora
Tar Man 6

2008

Fibreglass and tar

185 x 76 x 97 cm
Tar Man 6 is a mummification of one of the working men that struggle through the war-torn landscape of Kashmir. The routine with which they go about their laboured work in extremes temperatures is testament to the will of the people to contribute to change. Arora’s figure appears rooted to the spot, coated in a thick skin of tar smothering his ability to show any expression. The artist is examining the generation of men working on the road side, assigned to the difficult task of reconstruction and repair.
Kriti Arora
Tools and Boots

2008

Fibreglass, cloth and tar

Dimensions Variable 130 x 120 cm

Continuing her preoccupation with labour, Tools and Boots contains tools of the trade, organised and arranged to bring some semblance of order to the brutal task that lies ahead of these individuals. Black shovels, pick-axes and gloves are all coated with thick tar. The installation appears to be consumed by this material, used to coat the roads and level the arteries of the mountains for the vehicles that thread through. The inanimate objects in Tools and Boots have been organised as one might arrange a still-life, which highlights the humanity that is missing from them. They serve no purpose without the army of men routinely utilizing them on cliff-faces and road-sides.

Kriti Arora
Coat and Trousers

2008

Fibreglass, cloth and tar

Dimensions Variable 153 x 102 cm
Blackened coats and heavy trousers operate as the residual skins of the people employed to build the road-sides. These fibres, originally coloured and textured, appear stiff and impossible to use as they are drenched in tar. Hung out to dry by the artist, the tar is too thick to remove, alluding to the combined and inseparable nature of the men and their labour.

Articles

MARTIAL STROKES, MOVING MESSAGE: KRITI ARORA
Hindu Times, October 14 2005 by Sangeta Barooah Pisharoty

Kriti Arora's attachment to the Indian Army began before she was born. Her maternal grandfather had retired from the brigade after a long innings, only to be emulated by her maternal uncle. Two people she spent many impressionable years with

So a series of army men's tales told to her continued to grow within her. Centring on times spent at the frontiers, times good and trying. And perhaps that has found an unconscious vent in her latest paintings shown recently at Art Alive in New Delhi.
Four huge canvases, hung at the gallery as part of a group show, contain rather crude faces made hard by the daily grind, pulsating with pairs of eyes that seem to address you directly.

Source: hindu.com


ART IN REVIEW; PRANEET SOI AND KRITI ARORA
New York Times, April 20 1999 by Holland Cotter

The hollow sculptures of Kirit Arora, who has studied in Baroda, India, and at the University of Massachusetts, are semi-abstract terra-cotta forms of temples and mosques. In each case, the clay was smoothed out into thin sheets with a rolling pin, molded and pinched in a hollow form, then fire-baked like Indian bread, leaving its surfaces alternately pale and singed.

The artist is also showing photographs in which slide images of temples, mosques and Indian paintings have been projected onto her figure, a format similar to that found in the work of the British artist Sutapa Biswas. But it is the sculptures, with their implications of domesticity and religion and of sagging and puckered flesh that make an impression here.

Source: nytimes.com