Harsha Durugadda born in India and practices from New Delhi. His recent work the spinning-top series are a manifestation of his early childhood memories. A recurrent theme in his work has been the idea of whirling or spinning which has stemmed from the Turkish dervishes.
He has received a fellowship supported by the British Council for his social art project. His debut show held in January 2016 at LalitKala Akademi in Delhi had received positive reviews.
‘I want to start where language ends ‘is the most appropriate statement that explains my practice. I use scale and sensation to address both social and personal issues, through my practice which often levitates between myriad forms of sculpture, video, performance art and photography.
My practice is diverse in terms of medium, where shape-shifting and flamboyance are some of the most visible themes. Technology becomes a keystone to my work, be it cutting edge digital fabrication or new media tools enabling me to participate and coexist with traditional approaches and materials. I am learning to allow my audience to my work either through physical acts or mental engagement. My interest in ancient Buddhist sculpture imparted in me a belief that my work is about the other and even personal history is also very peripheral. I intend to shift the focus from the individual, particularly from the artist towards the other. The context in an artwork is what makes it great not the work itself. In being an atheist I am enamored by how religion, faith and culture strongly influence man’s choices and draw hugely from the whirling dervishes in Turkey and the Brahman priest alike. In the recent years, I incline towards creating large-scale works in the public sphere where I allow a larger audience to engage with my work.