2025. All Rights Reserved.
BIGGER
SCREEN
BIGGER
PICTURE
aham_2025 ~ ongoing / reyyi
website containing mixed media and text
dimensions variable and responsive
only on desktop version
रुकावट
के लिए खेद हैं।
प्रोसेसिंग
MEMORY
unloading
|
illusion of being
allusion of belonging
act of becoming
The absurd begins as a rupture in the mind that desires unity within a world that offers none. Nostalgia is that rupture for me, relocated into a "pre" — an absence made to feel like it was once a presence, and remembered as though it were lost rather than simply absurd. It does not recall a whole past; it manufactures one, to stand in for the unity the present refuses to give. The body metabolises this rupture. The machine only logs it. What is felt exceeds what is indexed — and what is indexed hardens into what is believed. This is my absurd, archived onto servers. To leap backward is nostalgia. To remain is the absurd. Becoming stands between them. No resolution. Only relocation [in a time and space, 2022 ~].
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 war
_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 photographic 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 memory, using the photographic image as the ultimate, material signifier
This body of work is not concerned with objective truth; it is a deliberate dive into the mechanics of human subjectivity, by using the camera as an instrument to assert my own subjectivity. The resulting images are not the objective representation of a subject, but the concrete manifestation of my subjective gaze - a visual topology of memory, class consciousness, and point of view. The images, or rather reflections, become objects that reify my internal landscape, where the self-referential and self-reflexive qualities of the photographic medium are exploited to make the repressed visible, beyond the subject within the frame.
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 photograph is the result of an unconscious negotiation 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 — not to be decoded, but encountered. What is visible in these photographs is not what stood in front of the camera. It's who stood behind.
reyyi
-
an artist by definition
-
a lawyer by qualification
-
an absurdist by conviction
-
a pluralist by classification
-
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.
a mediation in reality
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.
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 expression, condensation, and mediation.
