2025. All Rights Reserved.
BIGGER
SCREEN
BIGGER
PICTURE
aham_2025 ~ | reyyi
website containing mixed media and text
dimensions variable and responsive
only on desktop version
रुकावट
के लिए खेद हैं।
प्रोसेसिंग
MEMORY
unloading
|
To remember, or to forget, who decides?
i ask because the images i make tend to arrive before i understand them. A frame, a colour, a gesture rises up, and only later do i recognise it as something i was carrying. Over the years, memory has piled up in me like a hard drive: some of it filed where i can name it, much more written somewhere it’s cached, and keeps working without asking me.
None of it comes back unchanged. Each time a memory is recalled, it is rebuilt, and the one rebuilding is whoever i am now. So the past i return to is partly a present-day (re)construction, and the Self i return as is partly constructed from it.
This feels different at the moment. Identity as commodity, and reality experienced virtually. We have never stored so much of ourselves, or been so unsure of what the storage holds. The body feels what happened. The machine only logs it. What is felt exceeds what is indexed, and what is indexed has a way of hardening into what is believed.
The works start in this gap - at this moment - a memory rises and asks for a form. It doesn’t surface on its own. It needs a surface: somewhere to be relocated; in a shape, in a time and space.
piece of
capitalism
TM
अहम्
i am a construct
_designed by the social paradigms, values, and ideals
_manufactured by images of late stage capitalism and conflicts
_constantly defined, and redefined, by a language that determines my social relations, my thought processes, and my understanding of who and what i am
_produced by a set of cultural practices and values that characterise my perceptions as a series of preferences, dispositions, proclivities, and biases.
MEDIUM
locating the image as a condensed affective object that mediates unconsciously
an inquiry into the structural unconscious, where the image serves not as a record of presence, but as an index of absence; operating on the premise that memory is never articulated directly, but always through symbols and metonymy. the aim of inquiry is to make visible the resulting abstraction of repressed, using the image as the ultimate, material signifier
A shadow is evidence of a body, not a portrait of it. The images here work the same way. They are not an objective representation of a subject but the concrete manifestation of my subjective gaze: a visual topology of memory, class consciousness, and point of view. Each photograph is a reflection in the literal sense, an object that reifies my internal landscape and returns it to me to look at. In it, i meet something of who i am, or who i have been taking myself to be. But the frame holds only part of the picture. Beyond the subject within it lies a language, the one that constructs my material conditions, and it is there that the repressed becomes visible.
Subjectivity is not a given. It is produced: through class location, through language, through the images absorbed and the images made. The camera is one such technology of production, not a neutral instrument but a participant in the continuous making and remaking of who i am. Every image results from an unconscious mediation between what was intended and what insisted on being seen. The gap between intent and meaning is where this work lives. Effects and affects, folded into the image as perceptible objects, are not to be decoded but encountered. What is visible in these works is not what remained within the frames, but who frames it.
reyyi
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an artist by definition
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a lawyer by qualification
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an absurdist by conviction
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a pluralist by classification
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a resident of gurgaon/gurugram, india
2025. All Rights Reserved.
Glitch fundamentally resists the logic of the market, via feeds, recommendation systems, and platforms that decide what surfaces, what gets noticed, and what gets repeated based on legibility and frictionless, consumable content that can be easily categorised, packaged, and sold.
a declaration that the underlying code of one's existence is not be clean, legible, or profitable for the system.
Glitch actively resists the institutional and corporate mandate for digital perfection and smooth functionality.
Glitch challenges the structures that demand flawless interfaces.
internal resistance to surface not in behaviour, but through a medium that offers a controlled, abstracted release of tension, takes shape of a displaced manifestation, an act that mirrors the inherent struggle of confronting
a memory - nostalgia.
The fragmented image, the broken code, the data corruption - the 'Glitch'.
Glitch is more than an aesthetic play; it is a deliberate strategy of resistance. an assertion of digital sovereignty.
corporate branding, polished media narratives, or seamless institutional data processing.
अहम्
a sense of identity
i, is not a fixed, internal core but a dynamic, ever-changing portfolio of roles and narratives, that makes it ever performative. It is the fluid story that i continuously constructs and performs using my memories and instincts, adapting them instantly in response to social context, cultural demands, and the pervasive influence of technology. This perspective sees identity as an artistic creation - a constant process of introspection, deconstruction, and mediation.