Radhika Khimji’s work is at once a painting, a drawing and a collage; it is also an embroidery and a sculpture. Because it is all of these things a place between many polarities emerges. In evading identification Khimji’s work appears to arise out of identity itself, and the more she tries to escape categorisation the more she finds herself bound within it.
Khimji has developed a way of working informed by the physicality and materiality of the making process to deconstruct, evade and erase constructions of formulated identities. She questions categorisation and often play with terms and the naming of things to generate a new narrative for an object and render it abstract from its loaded history.
The formal pursuit to elude and subvert the diminishments of discrete identifications illicits a work of perpetual displacements. Everything has its place, but the inexhaustible drive remains towards articulating the possibility of a kaleidoscopic shifting.