Residue 1, Acrylic, oil, resin, bitumen lines, cut vinyl prints, 72 x 72 in, 2026
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Residue 1, Pen, ink, earth (soil), on archival paper, 48 × 60 in, 2026 |
Residue 2, acrylic, oil, resin, bitumen and enamel lines, cut vinyl prints, found plywood with bitumen, framed photographs of demolished house numbers on canvas (72 × 72 in.) with government allocation records (8 × 17 in.) on archival paper, 2026.
Residue 3, acrylic, oil, resin, bitumen lines, cut vinyl prints, 72 × 72 in, 2026
Residue 4, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen on canvas, 72 × 72 in. & framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper.
Residue 4, Pen, ink, and earth (soil), on archival paper, 48 × 60 in, 2026
Residue 5, acrylic, oil, resin, bitumen lines, cut vinyl drawing/collage prints on canvas, 72 × 72 in, 2026.
Residue 2, pen, ink, and earth (soil) on archival paper.48 × 60 in, 2026
Residue 6, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen, on canvas 72 × 72 in. and framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper.
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Residue 7, pen, ink, earth (soil), on archival paper, 48 × 60 in, 2026 |
Residue 8, acrylic, oil, resin, bitumen lines, cut vinyl drawing/collage prints on canvas, 72 × 72 in, 2026.
Residue 8, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen on canvas (72 × 72 in.), and framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper, 2026
Rohit Raj Mehndiratta’s new exhibition builds on his previous reflections on his paternal legacy and his concerns about a dystopian modernity taking shape in India. His father, Mahendra Raj, was one of the most eminent civil engineers of modern India and worked with architectural giants like Le Corbusier and Louis Kahn. Like many, Rohit was deeply disturbed when the iconic Hall of Nations at Pragati Maidan - built by his father and architect Raj Rewal - was demolished alongside other important architectural artefacts of the 1960s and 1970s.
Rohit’s training in architecture and his research into engineering and urbanity enable a visual engagement with art rooted in a deep understanding of structure, material, and form. In his previous show, he produced installation and photographic works that paid homage to the loss of a specific national identity expressed through architecture. This loss is evident in the photographs of destroyed buildings, which are being replaced by new structures that speak to an emerging, homogenized modernity.
In his new works, painting becomes the dominant medium to excavate the pain and trauma he experienced as he watched his legacy being destroyed. Swirling strokes on paper and disciplined grids on large-scale canvases serve as sites to excavate personal trauma and historical grief. Miniature photographs continue to provide a scaffolding for the pieces. He deploys paint skillfully, allowing layer upon layer to create a visual archive of traces that evoke loss while pointing to the timeless legacy of memory through color. Lines incise the works, serving as a reminder of a different scope of modernity that engaged deeply with ideas and concepts.
Rohit’s use of materials invokes the raw strength of architecture; earth, minerals, cement, bitumen, and debris from the destroyed sites give the artworks a resonant meaning and inner integrity. The works become embodied ideas that transcend memory and loss, commemorating history and celebrating achievement while reminding us of the fragility of our inheritance.
Tasneem Zakaria Mehta
Residue 1, Acrylic, oil, resin, bitumen lines, cut vinyl prints, 72 x 72 in, 2026
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Residue 1, Pen, ink, earth (soil), on archival paper, 48 × 60 in, 2026 |
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Residue 2, acrylic, oil, resin, bitumen and enamel lines, cut vinyl prints, found plywood with bitumen, framed photographs of demolished house numbers on canvas (72 × 72 in.) with government allocation records (8 × 17 in.) on archival paper, 2026.
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Residue 3, acrylic, oil, resin, bitumen lines, cut vinyl prints, 72 × 72 in, 2026
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Residue 4, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen on canvas, 72 × 72 in. & framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper.
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Residue 4, Pen, ink, and earth (soil), on archival paper, 48 × 60 in, 2026
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Residue 5, acrylic, oil, resin, bitumen lines, cut vinyl drawing/collage prints on canvas, 72 × 72 in, 2026.
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Residue 2, pen, ink, and earth (soil) on archival paper.48 × 60 in, 2026
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Residue 6, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen, on canvas 72 × 72 in. and framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper.
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Residue 7, pen, ink, earth (soil), on archival paper, 48 × 60 in, 2026 |
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Residue 8, acrylic, oil, resin, bitumen lines, cut vinyl drawing/collage prints on canvas, 72 × 72 in, 2026.
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Residue 8, acrylic, oil, resin, bitumen, enamel lines, cut vinyl prints, found plywood with bitumen on canvas (72 × 72 in.), and framed photographs of demolished house numbers with government allocation records (8 × 17 in.) on archival paper, 2026
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