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Sharmila Samant's work deals with issues of identity within a global context, particularly looking at the homogenising effect of commodification in relation to developing economies. Past works such as "Ask For More" have explored the role of detritus within this framework of the "megalopolis". At Gasworks Samant related these issues to the specific context of her studio by producing a personal work that responds to her time in London. Taking her studio as a space symbolic of international encounter, Samant painstakingly catalogued the dust from under the floorboards left by numerous visiting artists. Incorporated into a duvet sown by the artist, the work stands as a physical manifestation of the now absent past artists - many of whom Samant feels may have craved the symbolised comfort and warmth on arriving in a new and strange environment.

Sharmila Samant's residency at Gasworks was her second European residency having already been a guest at the prestigious Rijksakademie, Amsterdam.


Other works include Global Clones, 1998 a video which proposes the idea that people around the world are 'cloned' by popular consumer brands, and a photographic project Interior Motifs, 1998 where she staged live peacocks (the Indian national bird) in the unlikely settings of a library and an industrial workshop.

Supported by The Charles Wallace India Trust