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S E X Y P I N K

Guyanese British Artist | Suchitra Mattai

Image:The light we know and the dark we keep, 2022, vintage saris, fabric, and tassels, 122" x 115"

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In her own words...

I am a multi-disciplinary artist of Indo-Caribbean descent. My experiences living in several countries and cultural contexts have greatly shaped my artistic practice. Recent and upcoming projects include a commission for the Sharjah Biennial 14, “State of the Art 2020” at Crystal Bridges Museum/the Momentary, a Denver Art Museum and the Biennial of the Americas jointly sponsored installation, a commission for the MCA’s Octopus Initiative, solo exhibitions at the Boise Art Museum of Art (2021), K Contemporary Art (2020), Unit London (2022), Hollis Taggart NYC (2022), and the Center for Visual Arts, Metropolitan State University of Denver (2018) and group exhibitions at Kavi Gupta Gallery (2021), Aicon Gallery (2021), Unit London ( 2021), Pen and Brush NYC (2019), and the San Antonio Museum of Art (2021). I received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, PA. My work has been reviewed in publications and on-line platforms such as Hyperallergic, Document Journal, the Boston Globe, Widewalls, Cultured Magazine, and Wallpaper Magazine and is in the collections of Crystal Bridges Museum, the Denver Art Museum, and the Taylor Art Collection.

Statement

I am interested in how memory allows us to unravel and re-imagine historical narratives. My primary pursuit is to give voice to people whose voices were once quieted. Using both my own family’s ocean migrations and research on the period of colonial indentured labor during the 19th Century, I seek to expand our sense of “history.” Re-writing this colonial history contributes to contemporary dialogue by making visible the struggles and perseverance of those who lived it. I often focus on women and employ practices and materials associated with the domestic sphere such as embroidery, weaving, various fiber elements, etc. I re-imagine vintage and found materials that have a rich past as a way of creating a dialogue with the original makers and the time periods in which they were cherished as well as a means of navigating my own personal narrative. I often use vintage saris as a way of connecting women of the South Asian diaspora from around the world. Thinking about colonization in Guyana and the rest of the Caribbean is a way of tracing my family’s history in Guyana and India and of fostering discussion around contemporary issues surrounding gender and labor. Combining, re-contextualizing, and reconfiguring disparate materials is a way of making sense of the world around me and of reconciling multiple cultural spheres that I inhabit as an Indo-Caribbean woman.

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