Suhasini Kejriwal takes the raw materials of the city as her starting point. Her painted fibreglass sculptures recreate formal arrangements of everyday objects: fruit, shoes, pots and pans, bricks, wheels, advertisements, junk… Like monuments to the jumble of daily life, they suggest how the high ideals of Progress are manhandled into practice by human beings (those unreliable but indispensable cogs in the city’s machinery). Suhasini’s large-scale drawings of city life take the viewer into this same all-enveloping environment via a different route. Their size, cinematic breadth, and almost indigestible volume of detail create an overwhelming intensity. This is the metropolis as it lives and breathes, sustaining and suffocating at the same time. By following the city’s relentless logic of accumulation in constructing her work, Suhasini highlights the frequent mismatch between idealism and the human realities it seeks to govern.