Through his paintings and assemblages, Atul Dodiya engages with both political and art history in a way that entwines global /public memory and local/personal experience. In his most recent series of paintings Dodiya appropriates the images and styles of famous artworks. By doing this he pays homage to his influences, but also â€˜borrowsâ€™ their identities through a kind of painting role-play: copying becomes a form of â€˜channellingâ€™ or re-enactment, weaving the masterâ€™s identities and ideas to Dodiyaâ€™s own (and vice versa). Foolâ€™s House is a tribute to Jasper Johns, the American pop artist renowned for painting generic graphic motifs such as targets, maps and text fonts. The fragmented composition of this painting â€“ divided into rectangular shapes â€“ references the design typical of Johns; the segments of the canvas contain quotes of a Johns map and target. Dodiya first came to prominence with his paintings done on roll down security shutters, and in this work he imprints his own history upon his heroâ€™s, re-conceiving Johnsâ€™s international abstraction as a local shop front. The â€˜taped photographsâ€™ in the scene make reference to Johnsâ€™s 1984 painting Racing Thoughts which used this device to quip famous artworks such as the Mona Lisa; in Foolâ€™s House, one of Dodiyaâ€™s snap shots contains an image of Manrayâ€™s Cadeau, emphasising his painting as an offering or gift.