Looking at the idea of local vernacular vs the classical which enjoys mobility, the nude body which is no more involuntary and retains its agency is the classical of contemporary. It is a part of mainstream practice which is recognized as contemporary.

In order to produce a local version of contemporary, I in this work am censoring not just the parts of body which are called private, though the definition of private also varies but in strict sense which parts of the female body are considered private are self-censored here, and with them the parts which are told to be censored depending on regional groups. For a body wearing ‘hijab’, elbows become parts of the body that need to be censored too. Thus, when I look at my naked body, it is divided into one what is to be hidden and two what is to be erased.

Though the theoretical aspects of feminism are strong and propagated by a number of social reformers, the ground reality within a family, of raising a girl child, of house rules that are applicable for a child are by far very different but particular. Looking at the politics of history writing how I locate an individual household in it is my predominant concern.

The flowers used are grass weeds, the plants that are planted by an institutions are like landscapes, the are trimmed and shaped. Though the soil and grass are also not native to this region, the fact that the grass flower is not trimmed but removed is evident that it is unwanted. And lawn mowers are not able to get to the root of these flowers hence, separate labor force is employed in order to pluck them from their roots. The relation of what is to be hidden and erased applies here too. So, I have used these to censor my image. Weeds act as a failed attempt for filtration. Here the resultant nude body does not take a vulnerable position but a position of choice.


Gendered norms dictate the censorship of certain body parts, varying by region, culture, and individual experience. Drawing from my lived experiences—such as being told to conform to restrictive dress codes during school or having my identity questioned due to short hair—I have internalized and resisted these prescribed roles. For instance, the perception of my body as "flat" or ambiguous has led me to intentionally exclude breasts in sculptures I created during my undergraduate years. This omission was not merely aesthetic but a deliberate act of resisting normative gender categories that constrain and define the body. By juxtaposing the cultural construct of nudity with my personal history of self-censorship—knees hidden, nails erased, dark circles scrutinized—I reflect on the fragmented identity that emerges from these imposed norms. This work also critiques the symbolic censorship of sexuality in popular culture, such as the recurring motif of flowers used to obscure intimacy in film. Interestingly, flowers themselves, often laden with sexual symbolism, appear in contemporary imagery as deliberate acts of self-expression when used to cover or adorn the body.