Kher’s Make Up (as you go along), positioned as though it is about to topple, is a visual enigma that balances between metaphysical and material pursuits. The central mirror, that would once grace the viewer with their own reflection, is shattered to resemble a bursting Mandala. The use of this motif reframes the object from a tool for cosmetic rituals to an aid for meditation and spiritual guidance. In this sense, Kher has pursued the notion of self-reflection, marrying its most functional context with the ethereal. The dresser ripples with colourful Bindis that imbue it with an animated personality, accented by an open draw suggesting a quality that borders on the anthropomorphic.
“The bindi to me represents the third eye – one that forges a link between the real and the spiritual/conceptual/other worlds.”
—Bharti Kher
Kher is pronounced in her ability to assign a sense of mysticism to the quotidian. The artist seeks to incorporate found objects with materials that are loaded with symbolism, establishing her works between geographic and social milieus. The use of the Bindi, for example, first appeared in 1995 as a means to instantly invoke themes of sublime consciousness while acting as a material much like paint or clay. Kher’s corpus has thus become known for its ability to engage the viewer, encouraging them to participate in the exchange between the magical and the everyday.