Surekha was the successful India applicant of the artist in residence initiative between India and no.w.here. She was hosted at no.w.here for 3 months with support from the Arts Council England. The work she made at no.w.here had its UK premiere at the Cornerhouse in Manchester as part of the Asian Triennial
Personal statement and thoughts on development:
My initial plan/ concept were to explore the private spaces /public places, body as a concept within “self” and “community” in relation to the environment.
My main concern, as I perceived it, is exploring the general 'self' but from within the framework of my artistic practice. As a part of this, most of my works deal with the concept of ‘body as a site of contestation and appropriation’ that existed in locations/sites that share similar/different histories, redefining/relocating feminine spaces through the medium of video and filmmaking.
I was trained as a visual artist with a certain knowledge of video technology. My main aim was to go through the workshops offered at no.w.here and to understand the history, language, development and techniques of Super 8, 16 mm and cameraless film, from a practical point of view.
I wanted to incorporate the interactive experiences possible between the urban culture with the technological facilitation of video and filmmaking and to come up with a resultant in the form of a fiction/semi documentary.
Technically the residency was one of the best opportunities I've ever had and my experience in the lab was great. James Holcombe and Will Hanky were my instructors and they were very knowledgable, informative and helpful. I learnt a lot of new methods and technical skills. Being with other participants in the workshops helped me to share their ideas and I did enjoy working in groups.
Regarding artistic support, I liked the salons organised by no.w.here (Karen Mirza and Brad Butler) and the informal and approachable methodology of exchanging ideas and discussion. Small group formats also helped in understanding each other in one-on-one level. Considering my initial expectation, I learnt a lot technically and also my approach towards film and the artistic language has changed drastically.
David Blamey was born in London in 1961. His work encompasses several activities, including publishing, editing, writing and exhibiting, which all overlap to form a multi-layered practice that defies straightforward categorisation. He has said, "I like the idea that the distance between the art world and the real world can be almost nothing. Framing, adjusting, assisting, promoting, thinking about and reassessing what's already there - that is my work".
During the early 1990s he showed at the Nigel Greenwood Gallery in London and established the independent publishing imprint Open Editions as a vehicle for collaborations between artists, writers and academics from a variety of parallel and interconnecting fields. Since the late 90s he has shown at a number of galleries run by artists' collectives - Arthur R. Rose in London, Glass Box in Paris and Four in Dublin - as well as exhibiting at established venues such as Zacheta National Gallery, Warsaw and Arcadia University Art Gallery, Philadelphia. For over twenty years he has regularly travelled and carried out research in India and in 2006 he was awarded no.w.here's International Artist Fellowship and was a guest contributor to the Experimenta 2007 festival in Bangalore and Mumbai. His edited cultural studies books include, Here, There, Elsewhere: Dialogues On Location and Mobility (2002) and Living Pictures: Perspectives On The Film Poster In India (2005), both published by Open Editions. He is director of the critical forum programme in the School of Communications at the Royal College of Art.