KOCHI: Durbar Hall has been transformed into a sanctuary of creativity, hosting the works of 60 artists — 30 poets and as many visual artists — spread across five immersive rooms. This exhibition is a fantastic wake-up call, urging each of us to pause and reflect.
While we point fingers at others for the destruction of nature and social issues, the true villain exists within ourselves. That’s the message drilled in.
Titled ‘Presence of Absence in Man: The Elephant in the Room’, the exhibition is a mesmerising blend of installations, poetry, film, and visual art. Curated by poet and artist Anuradha Nalapat alongside visual artist Anoop Kamath, the title is inspired by the former’s evocative poem ‘Presence of Absence’.
“This is my first curation,” shares Anuradha. “When my dear friend and animal rights activist Rati Devi Panicker approached me, I spent a month reflecting inward. I was tired of using words to raise awareness, so I chose silence this time. The elephant in the room is man himself. People have forgotten the true meaning of love, misusing the word until it’s hollow.”
The exhibition invites introspection from the moment you step in. KiliAana (Elephanto-Bird), an installation crafted by visually impaired students under Alex Chandy’s guidance, is an arresting centrepiece. It depicts an elephant’s head merging into a bird’s body, with tactile textures and feathers replaced by hands, ending in a bouquet tail.
The piece encapsulates the boundless creativity of the human mind and prompts visitors to confront their understanding of freedom and self-awareness.
Equally striking is an installation created from discarded medicine wrappers by a Parkinson’s patient — a representation of outstretched wings, questioning the core of humanity.
A poem titled Hope, written by a child with autism has been printed on fabric pieces and bundled as take-home souvenirs, gently reminding visitors that change often whispers rather than screams.
“This is Arikomban,” declares Rati Devi, gesturing toward her intricately detailed painting of the iconic elephant. “He is innocent. We humans invaded their homes. What else would they do?” As a passionate activist, Rati has fiercely advocated for Arikomban’s cause, her artistry entwined with a message of empathy for animals displaced by human encroachment.
However, these philosophical introspections are not necessary for someone to take in the splendid displays of creativity here. They mesmerise everyone with their arresting beauty effortlessly.
The exhibition’s storytelling extends through multimedia works. Solo traveller Michelle Lamzouza Dsa’s visual poetry film Finding My Fragments reflects on the silent yet transformative presence one experiences in stillness.
Photographer Deepak K J’s documentary Kari explores the cultural and ethical complexities of elephants in temple festivals.
“As a child, I dreamed of owning an elephant,” he admits. “But growing up, I learned the unsettling truth about using animals for masculine entertainment. My work explores the connection between gods and animals, introducing the idea of robotic elephants.”
Collaboration is at the heart of the exhibition. Anuradha describes the creative process as organic and symbiotic. The exhibition also serves as a fundraiser for Walking Eye Foundation for Animal Advocacy. Every artwork — from the installations to the poetry — is a profound exploration of self, humanity, and love.
The exhibition concludes on December 10.