Ayisha Abraham has created a body of work that consistently makes the found an integrative part of her investigation of the everyday processes of memory and imagination. Often incorporating recycled amateur footage, she weaves fragments of history in her films, creating narratives that blur the line between fact and fiction. Abraham repurposes the dislocated and the worn, allowing the viewer to excavate their own and create intensely personal connections amidst the fuzziness and staccato of the past.

Muhanned Cader’s work, largely in drawing and collage, offers a delicate, playful commentary on the experience of navigating between the subjective and the objective, the partial and the whole, the visible and the unseen. Often framed within curving, anthropomorphic shapes, Cader’s compositions suspend the moment before language takes hold of experience, evoking, but never fully describing, the objects and presences of everyday life. His works, whose evasiveness does not mar their feeling of intimacy, seem evidence of some strange, idiosyncratic system of order – one that recalls the imagination’s power to find relationships and interconnections, however inexplicable, within the confusion of the world.

The work of Srinivasa Prasad explores the material world not only as a physical space, but as a terrain of emotional, social, and historical significance. Prasad breaks media-specific boundaries in the search of an experiential confrontation with nature and with the self, mining the visual vocabulary of the familiar for its inner resonances. His work makes use of the inherent and inherited life of the materials he employs, both organic and recycled, calling attention to the underlying attachments and motivations that govern human interaction with the physical world.