Inspired by the the assembled prayer stones surreptiously present at rural landscapes in the Indian subcontinent, this work invites the audiences to tangibly leave a stamp of their interaction with this art work through a hand-held electric engraver.
The artist creates red herrings for the viewing audience. What appears to the naked eye is a ver>cal assembly of 7 stones atop a seated human figure, whereas it is only one Mahabalipuram stone skillfully sculpted. Possibly teasing out the idea that tolerance of weight - emotional, physical, metaphorical - has its own limitations?
The artist finds that this work is reminiscent of the colloquial tradition of engraved surnames on utensils as well as the unnecessary hazard of graffiti on heritage monuments, where the act of engraving itself encapsulates a certain permanence which goes beyond a single finite human life.