Vrinda Seksaria founded Metis in 2019. Vrinda graduated from the Faculty of Architecture, CEPT; was an Erasmus student at ETH, Zurich, did a PG Diploma in Indian Aesthetics from Philosophy Dept of Mumbai University, an MA Photography and Urban Cultures from Sociology Dept of Goldsmiths, University of London and a Fellowship at KRVIA, Mumbai. With over 10 years of architectural experience at leading design firms in Mumbai like Bijoy Jain + Associates, Rajiv Saini + Associates, Serie Architects, ANL Associates and Studio Mumbai; Vrinda simultaneously works with Alternative Photographic processes. Her work explores links between architecture, urban studies, sociocultural theory and photographic practice with a focus on cultural archaeology of urban space and the politics of architectural memory, materiality, construction and decay. Vrinda set up a dimroom for alternative photo-printing at Kala Ghoda, Mumbai in 2012 and her architectural studio in Khar West, Mumbai in 2019. A member of the International Urban Photographers Association (UPA), she has exhibited her photographic work as part of group shows in Mumbai, London, Bogota, and Portugal. Vrinda has been a visiting faculty at various architectural colleges and is currently associated with Sir JJ CoA.
Vrinda Seksaria founded Metis in 2019. Vrinda graduated from the Faculty of Architecture, CEPT; was an Erasmus student at ETH, Zurich, did a PG Diploma in Indian Aesthetics from Philosophy Dept of Mumbai University, an MA Photography and Urban Cultures from Sociology Dept of Goldsmiths, University of London and a Fellowship at KRVIA, Mumbai. With over 10 years of architectural experience at leading design firms in Mumbai like Bijoy Jain + Associates, Rajiv Saini + Associates, Serie Architects, ANL Associates and Studio Mumbai; Vrinda simultaneously works with Alternative Photographic processes. Her work explores links between architecture, urban studies, sociocultural theory and photographic practice with a focus on cultural archaeology of urban space and the politics of architectural memory, materiality, construction and decay. Vrinda set up a dimroom for alternative photo-printing at Kala Ghoda, Mumbai in 2012 and her architectural studio in Khar West, Mumbai in 2019. A member of the International Urban Photographers Association (UPA), she has exhibited her photographic work as part of group shows in Mumbai, London, Bogota, and Portugal. Vrinda has been a visiting faculty at various architectural colleges and is currently associated with Sir JJ CoA.
THE SUBJECT WAITING TO BECOME AN OBJECT
‘The object-become-sign no longer gathers its meaning in the concrete relationship between two people. It assumes its meaning in its differential relation to other signs. Somewhat like Levi-Strauss myths, sign-objects exchange among themselves. Thus, only when objects are autonomised as differential signs and thereby rendered systematisable can one speak of consumption and of objects of consumption’.
Jean Baudrillard, For a Critique of the political Economy of the sign, trans. Charles Levin (Telos Press Ltd, St. Louis, MO, 1981), p.66
‘Our urban civilization is witness to an ever-accelerating procession of generations of products, and gadgets by comparison with which mankind appears to be a remarkably stable species’.
Jean Baudrillard, The System of Objects, trans. James Benedict (Verso, London, 1996), p. 1
Objects which we need for our everyday functions have proliferated beyond our count and grasp. Our day starts with these objects and ends with them. Instead of us consuming objects, objects start consuming us. They are all over us. One can’t imagine a bedroom without a bed, study table, wardrobe, dressing table etc. We need company of all these and many more objects to make a bedroom feel like a bedroom. A stroll in a shopping mall will show us that there are objects for every little activity. Instead of needs creating objects, objects have today taken charge of formulating human needs. It is not we who decide what we want, it is the object that decides what and how it wants.
Every object has its own form, its own gesture and its own function. Any object that doesn’t satisfy all these conditions is no longer an object. As a collection, these photographs are like variations of unformed objects in their unfinished reality. The ontology of reality here is confused by constantly shifting relationships between the exposed steel bars and a series of everyday rituals (the stacking of mattresses, the drying of clothes etc). These performances keep individualization of an object floating between that of a (non)object and an (un)object, like a mirage in the desert that is always too far from reach. To some these assemblages might appear as installation, to others as discarded object, or as in-between entities that hover in an uncertainty of unformed reality, waiting to become an object.
Photographs by Vrinda Seksaria
Text by Santosh Thorat