Lost and Found
Lost and Found
bindis on aluminum
100¾ by 53 in. (256.5 by 134.6 cm.)
Executed in 2006.
This work is in very good condition overall. There are textural variations to the surface, inherent to the artist chosen media. There is lifting to some of the bindi elements, visible upon close inspection. There are a few bindi elements that have detached from the aluminum backing, visible upon close inspection. Framed under Plexiglas.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Kher's signature motif is the bindi. In India, the bindi is a traditional mark of pigment applied to the forehead which is associated with the Hindu symbol of the third eye that sees beyond the material world. It is also traditional in wedding ceremonies, where the red daub on the bride's forehead (believed to have been the husband's blood in centuries past) is a marker of marital status. In today's modern India, however, these cultural associations of the past are increasingly diminished and bindis have been transformed into mass-produced, vinyl stickers, disposable objects hollow of meaning which have become secular, feminine fashion accessories.
Kher is acutely aware of these associations and plays on the pluralism of ancient Indian customs juxtaposed with modern Western values. In a society increasingly receptive to foreign influence, many Indians remain overtly reverent to their own deeply ingrained history and culture, yet nonetheless this is a period of seismic shift for India as it undergoes the changes wrought by globalisation, commerce and consumerism. India's cultural wealth derives in part from its inherent contradictions which have existed for centuries; it is the friction at the fault lines of these contradictions which are increasingly under stress from the fast pace of change and which Kher so observantly layers in her work. The social roles, traditional rituals, gender relationships and popular culture of India past and present are all scrutinised from Kher's unique trans-national vantage point. Born in London and trained in Newcastle, Kher is a rare reverse émigré who moved back to India from the United Kingdom in 1992 at the age of 23, having not set foot on Indian soil for almost twenty years. Questions of her own identity and her place as a successful female artist with a western upbringing in modern Indian society are inevitably entwined into her ethnographic observations of contemporary Indian life.