As one leaves home every morning, what brings them to their studio is what matters! Most often and almost only, from home to studio, it is the daily newspaper. Brimming with provocative information, world-views, geopolitics etc., these aspects influence and shape the contents of Anant's work in abstract forms. In this work, he presents raddhi (a colloquial term for collected piles of old newspaper) cuttings from 2015 to 2018. The newspaper images form the backdrop of the work, which forms a repetitive (instead of recovered) pattern of mundane activities; this quotidian of gloom that overarches each of our lives dominates the ‘landscape’, so to speak.

Collaged into this grim imagery of everyday life is a strip of Calvin and Hobbes with their mischievous antics layered upon it (borrowed from a re-run of a 1980s strip on the last pages of the Indian Express). In some sense, this is the template of Anant's studio life. In the forefront, there are 24 copper sculptures placed inside pigeonholes - decaying, morphing, and taking organic obelisk forms.

To the artist, these obelisks commemorate the shame of contemporary times that resemble a melted/extinguished candle or a middle finger or a bonsai plant or a phallus. These are neither trophies nor souvenirs; however, the toy sculptures act as reminders of the interesting times we continue to live in.