DHARMENDRA PRASAD

I am working as an artist in rural and hinterlands to create participatory and process-based aesthetic responses with varied occupational people, especially farmers and artisans.

After having graduated from S.N. School of arts and communication, University of Hyderabad, I went on to gain hands-on experience in the tribal communities of Assam, where I worked as an initiator to collaboratively make art.

My practice incorporates multiple characters of natural and cultural landscapes as references which have got ecology, history, material culture, water bodies, unscripted narratives, occupational narratives, Agrarian spaces and its countless conflicts in post-colonial context. My aim is to establish an interdisciplinary art practice which one side uses characters and conflicts of natural and cultural landscapes and conditions of agriculture in the contemporary context and on the other hand modern technologies and art history. The intention is to reevaluate perceptions about agriculture, history, memory, identity, and condition of ecology constructed in post-industrial age by the work becoming an ephemeral residue behind future. Also to analyses the understanding of Agrarian history, construction of memories in the digital age by establishing a practice which evaporates the line between art practice and lifestyle practice and relook at the constructions like oriental and occidental. The intervention through anthropological and folkloric approach is aimed at natural landscapes and Cultural landscapes which hold the cultural traits and lifestyle, creating a culture industry and a way of life to be consumed through notions of development, nationalism, modernity,  identity, binaries of local and global political and apolitical. Through incorporating material culture, natural landscapes, mass art, and agricultural concerns and by critically looking at natural landscape in contradiction with contemporary lifestyle, the work moves away from only reasserting representations and information’s about autobiographical experiences and allow one to express through questions and investigations, the position of imperialist consumption, hegemony, and notion of self and other, by allowing an event of art to occur at a point when work expresses its impermanence.