Susiraja’s approach to her lens is both liberated and regimented: she is always the only person in her compositions. On the other hand, she commits to afashions that ridicule their purposes while satirising her own way of associating with them.
In the show, the images feature an umbrella full of rubber ducks covering up Susiraja’s otherwise bare crotch like a fruit bowl, or some fruit peel perched on her foot made up like a smiley face. The key to orchestrating an image with a punchline is her selection of objects with no particular character. “Consider a bath duck – it has to be a basic bath duck. It must not be too far-fetched in design,” the artist who has a background in textile design admits.
The attraction in Susiraja’s images stems from a medley of ease and precision. The juxtaposition of a heart-shaped balloon that covers her naked body in her kitchen feels given, as much as the plastic mannequin hand that pokes out from between her legs in her living room. Detached yet in direct communication with the viewer, a performance in each shot is a fundamental part of the process. “I don't choose how much is performance or organic,” she notes.
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