Much of Kallat’s work appears to deal with Mumbai’s dislocated and downtrodden inhabitants. In his canvases, faces are illuminated by animated collages that rest precariously over their heads like overbearing wigs containing scenes of the underbelly of the industrial city. Kallat mounts these animated portraits onto bronze gargoyles that are reproduced from the Victoria train terminus in central Mumbai. The Untitled (Eclipse) 2008 series takes on a more pressing significance when elevated upon these replica gargoyles, as the portraits become emblems and epitaphs to these animated lives.

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