Priyanka D’Souza
London: 20/09/2021 — 19/12/2021
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Priyanka D’Souza, It was then that Gregor decided with a firmness that only comes with experience, that he really did not like cockroaches, 2017. Gouache, siyah kalam, and charcoal on wasli paper. 7.5” x 24”.
Priyanka D’Souza, It was then that Gregor decided with a firmness that only comes with experience, that he really did not like cockroaches, 2017. Gouache, siyah kalam, and charcoal on wasli paper. 7.5” x 24”.
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Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda) (detail), 2019. (Left) Gouache, wall putty, Polythene, and Copper wire on Indian Postcard; (Centre) Watercolour on Indian postcard; (Right) Mushroom attached to mycelium on newspaper substrate. 6” x 4”; 6” x 4”; 6” x 6”.
Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda) (detail), 2019. (Left) Gouache, wall putty, Polythene, and Copper wire on Indian Postcard; (Centre) Watercolour on Indian postcard; (Right) Mushroom attached to mycelium on newspaper substrate. 6” x 4”; 6” x 4”; 6” x 6”.
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Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda) (detail), 2019. Mushroom on waste sandpaper. 6” x 6”
Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda) (detail), 2019. Mushroom on waste sandpaper. 6” x 6”
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Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda), 2019. Display. ‘Mythologies and Mushrooms’ books and mycelium sculptures on newspaper substrate.
Priyanka D’Souza, Mythologies and Mushrooms (Whales in Baroda), 2019. Display. ‘Mythologies and Mushrooms’ books and mycelium sculptures on newspaper substrate.
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Priyanka D’Souza, Detail of Mirror Fish (The Bahamut is dead), 2018. Watercolour and white lay on paper.
Priyanka D’Souza, Detail of Mirror Fish (The Bahamut is dead), 2018. Watercolour and white lay on paper.
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Priyanka D’Souza, The Crow Shat on the Monument: The Court Painter and the Goan Padre (1/2), 2020. Watercolour, ink, and plastic waste from a marble slab, on paper. 29.5” x 22”.
Priyanka D’Souza, The Crow Shat on the Monument: The Court Painter and the Goan Padre (1/2), 2020. Watercolour, ink, and plastic waste from a marble slab, on paper. 29.5” x 22”.
Priyanka D’Souza (India) is an artist, writer, and art historian whose primary areas of research and inspiration are Mughal painting and natural history in early modern Europe. Her practice often uses satire and fiction as a tool to subvert and redress lacunae and exaggerations in mainstream history. Interested in paradigms of truth and wonder, her academic writing centres around monsters and the aja’ib (strange/ unbelievable), particularly in imaginings of borderlands of nation-empires, and as applied to anomalous/disabled bodies.
During her residency at Delfina Foundation, Priyanka plans to further her research by comparing the presentation of zoological specimens in natural history museums and collections in London with their (often fantastical) visual representations in Mughal and Company School paintings, early modern cartographical maps and scientific texts.
Priyanka graduated in Painting from M. S. University, Baroda and is currently pursuing her post-graduation in Arts and Aesthetics from Jawaharlal Nehru University (JNU), Delhi. She was a fellow at the Dara Shikoh Fellowship ‘16 and has participated in many exhibitions across India.
