A Study of Potential Matter and Incidental Happenings
Alisha Reddy’s practice resides within an ‘active space’ of making where process meets material. Within this site of making, the experience of becoming and being is nurtured in its purest form. Here, within a seemingly infinite fantasy, exists that within which possibility and opportunity do not necessarily have a beginning or an end. Reddy aims to access a beyond, a virtual fold, a new plane of life, perpetually escaping into a world anew.
Disruptions (2021) manifests through material-site and non-site contingencies, which concern potential matter and incidental happenings. The artwork addresses the realm of possibility found within discarded remnants of everyday encounters by engaging with material processes, orchestrated situations, and disrupted conditions of the real. As the materials are revealed within their immediate environment, their coherent body is shaped by peculiar progressions and entropic implications of their process. In this sense, while the experience of becoming is being constructed, the conditions in which they emerge are also constantly redefined. All the while, cosmic ambitions are dissolved into reality, as the artwork's own being becomes nothing other than itself.
Upon entering site-specific events, these materials situate within growing mediums fostered by temperamental occurrences within sea shores, puddles (portals), bodies of sand, rocks, drains, tides, ponds, and concrete earths. On one hand the materials are liberated, on the other they are being consumed. As the materials begin to unfold in relation to immediate environments, it becomes apparent that while there is an experience of becoming, there is simultaneously an experience of unbecoming; while something is being created from the vantage of life, it is also being created on the brink of death. As it gasps for its last breath, its body and flesh degrade, decay, and deteriorate being reborn again into something anew. Over the duration of four months, residual fabrics, found towels, gradual plastic skins, and latex remnants materialize as vestiges, disseminating and transmuting, belonging to a site they were once introduced to. Prevailing as a living entity, the fabric remains alive, existing as a remnant while simultaneously being an active material. In this respect, these vestiges become a material imprint and a permanent trace of time. The tendency of time is warped as it enters into this virtual fold and becomes an indeterminate measure of how material-site encounters operate at different intensities, constantly materializing and dematerializing into the histories of each artworks' becoming and being.
