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Title

The scaffold called the Motherland spews infinite grace

2012

Artist

Sangeeta Sandrasegar

Australia

1977 –

Alternate image of The scaffold called the Motherland spews infinite grace by Sangeeta Sandrasegar
Alternate image of The scaffold called the Motherland spews infinite grace by Sangeeta Sandrasegar
Alternate image of The scaffold called the Motherland spews infinite grace by Sangeeta Sandrasegar
Alternate image of The scaffold called the Motherland spews infinite grace by Sangeeta Sandrasegar
  • Details

    Place where the work was made
    Mysore Karnataka India
    Date
    2012
    Media category
    Sculpture
    Materials used
    cast Indian brass
    Dimensions
    dimensions variable :

    a - eucalypt, 269 x 7 cm, (irreg.)

    b - eucalypt, 255 x 8 cm, (irreg.)

    c - eucalypt, 267.5 x 6.5 cm, (irreg.)

    d - eucalypt, 271.5 x 6.5 cm, (irreg.)

    e - eucalypt, 253.5 x 5.5 cm, (irreg.)

    f - eucalypt, 298.5 x 7 cm, (irreg.)

    g - eucalypt, 269 x 6.5 cm, (irreg.)

    h - eucalypt, 268 x 10 cm, (irreg.)

    Signature & date

    Not signed. Not dated.

    Credit
    Viktoria Marinov Bequest Fund 2012
    Location
    Not on display
    Accession number
    281.2012.a-h
    Copyright
    © Sangeeta Sandrasegar. Courtesy of the artist and Murry White Room, Melbourne

    Reproduction requests

    Artist information
    Sangeeta Sandrasegar

    Works in the collection

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  • About

    Sangeeta Sandrasegar's practice explores notions of cultural identity, place and belonging through the lens of post-colonialism. Her work to date has consistently engaged with the shadow as a formal and symbolic motif, which she conjures in relation to delicate graphic images produced by cutting away sections of fine paper and textiles. The sculptural installation 'The scaffold called the Motherland spews infinite grace' marks a material departure, inspired by two extended trips Sandrasegar made to India in 2011 to seek out personal connections with her cultural heritage.

    During these visits, Sandrasegar was struck by the prevalence of Eucalyptus saplings across various parts of the country, from Bangalore, to Chandigarh to Dehli, known locally as the 'Mysore gum', a legacy of colonial trade and exchange. In recent times, the species has been cultivated for use in the construction industry as a form of structural support for concrete slabs. Upon seeing clusters of these sapling trunks bridging between the floor and ceiling of rooms unfinished buildings, Sandrasegar mused that they functioned "for a brief space in time [as] abstract Australian landscapes"- momentary ruptures to the foreignness of the urban Indian environment.

    'The scaffold called the Motherland spews infinite grace' plays on the idea of returning the saplings to their historical point of origin. Working with a traditional sand-floor foundry in Mysore, Sandrasegar cast the poles in brass, a material that alludes to traditional Indian sculpture, architecture and decorative arts. Smelted from votive ornaments and pots and pans, the eight trunks are imbued with an incongruous sense of preciousness and permanence. Imported into Australia in this form, the objects embody the processes of transferral and translation that are implicit to globalisation and intercultural exchange.

  • Exhibition history

    Shown in 3 exhibitions

  • Bibliography

    Referenced in 4 publications