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Ragini Chawla’s work seize the small moments that punctuate life’s most significant events. In her newest solo exhibition, “Final Glass of Cola,” the artist focuses on banquet occasions like weddings and different ceremonies, with their inherent points of sophistication, labor, politics, and private drama.
Each work within the present was made previously two years and shares the title of the exhibition, as if every had been however a freeze body lifted from the day’s occasions. The work are daring and filled with character. Some have been put in on freestanding panels, surrounded by clusters of chairs that invite viewers to maintain them firm. Playfully awkward, the association makes it really feel as if you is perhaps the primary to reach at a marriage occasion and should navigate the room to find out probably the most enticing seat.
In distinction to these nearly filmic scenes of tablecloths, flower preparations, and unclaimed chairs are extra intimate portraits of ladies, disconnected from the empty operate rooms. In these pictures, Chawla brings to the fore the invisible labor that facilitates the events hinted at within the different work. A fragile drawing of a lady proven from behind, hunched over in focus, is annotated on one facet with the inscription “cooking with love, for your self, for the meals, for the folks you feed.” Different works zoom in on arms in a sink filled with suds, the inevitable cleanup.
In “Final Glass of Cola,” we by no means see the occasion itself. As an alternative, Chawla provides us what comes earlier than (the preparation and its attendant intimacies, the host venue bristling with potential) and what comes after (the titular ultimate sip, the lights shut, all people dwelling.) What occurs in between is left to the creativeness.
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