My practice explores perception, memory, and belonging through multisensory installations that engage touch, scent, sculpture, felt, and textile processes. Through immersive environments, I investigate how memory is carried through the body, how ideas of home are constructed and unsettled, and how movement across geographies shapes sensory understandings of self and place.

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My lived experience with impaired vision has fundamentally shaped this inquiry. Navigating the world through fluctuating visual clarity has made me acutely aware that perception is never singular or complete, but layered and negotiated through multiple senses. This has led me to question the dominance of vision within contemporary art and to create works that privilege embodied encounter as a way of knowing.

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This exploration began through my early blind drawings, made without corrective lenses. Working through instinct rather than visual precision allowed me to relinquish control and trust bodily memory. These works became traces of uncertainty and sensation, teaching me that limitation can generate new forms of perception.

Over time, this process expanded into installations that investigate home as both a physical and psychological condition. I am interested in home not as a fixed location, but as something continually reconstructed through memory, sensory residue, and movement. Having grown up in India and later relocating to the UK, my understanding of home has been shaped by displacement, adaptation, and cultural movement. This movement between geographies has made home feel less like a singular destination and more like an evolving archive of sensory impressions carried across borders through smell, texture, ritual, and memory.

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My work reflects the simultaneous presence of the global and the local within lived experience. I am interested in how migration produces layered identities shaped by rootedness and mobility, and how sensory memory becomes a way of navigating these in between spaces.

Scent is central to this investigation. It has the ability to collapse distance and time, transporting us across geographies and emotional states. For me, scent functions as an archive of place. The smell of monsoon rain on dry earth, incense drifting through domestic interiors, damp stone, and spices carried through kitchens hold memory with an immediacy that language cannot replicate.

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In my installations, I work with essential oils and constructed olfactory compositions that evoke personal and collective histories. These scents create invisible architectures that invite viewers to encounter place through the body, often activating recollections of their own homes, migrations, and absences.

Materiality is equally significant within my practice. Felt occupies a central role because of its capacity to embody touch, transformation, and containment. Created through pressure, friction, and repeated handling, felt records contact within its surface. My felt works often take the form of suspended structures, tactile membranes, and sculptural enclosures that evoke skins, thresholds, blankets, and temporary shelters.

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These forms explore the emotional architecture of home through protection, vulnerability, comfort, and displacement. I think of them as repositories of memory that absorb and hold traces of touch, scent, and presence. Their porousness allows them to retain scent, enabling them to function simultaneously as tactile sculpture and olfactory vessel. Through felt, memory becomes something physically encountered and released through contact.

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Alongside felt, I work with porcelain, embroidery, beads, braille, and textile processes that carry histories of labour, care, fragility, and preservation. Slow acts of stitching and hand building become forms of embodied repetition through which memory is accumulated and transformed.

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Accessibility and inclusive modes of making are integral to my practice. My work challenges conventional forms of spectatorship by inviting active sensory participation. Viewers are encouraged to touch, move through, smell, and physically inhabit the work. This is not simply an interactive strategy, but an ethical position. Accessibility is not an addition to my practice but a foundational principle that reshapes how artworks are conceived.

This commitment intersects with my exploration of home and migration. To create multisensory environments is also to create spaces of welcome, temporary sensory homes where memory, perception, and belonging can be collectively negotiated.

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Ultimately, my practice asks how home is remembered, carried, and reimagined through the body. Through immersive environments, I seek to map the shifting territories between here and elsewhere, presence and absence, memory and becoming, inviting audiences to consider how place continues to live within us through touch, scent, and embodied remembrance.