#Pop art text code#

The sixth ‘station’ signifies a journey premised on the historical and rehearsed with activist resolve.' 'I present a photography-based project, Six Stations of a Life Pursued (2022), a choreography of bodies that have undergone violence, experienced incarceration, and lived through mourning.

'Okwui's proposition suggests a narrative that is dynamic yet recursive in an ethically accountable way,' Sundaram said of the project. Sundaram was one of 30 artists to show a new work at the ongoing 15th edition of the Sharjah Biennial (until 11 June), where his photomontage installation Six Stations of a Life Pursued (2022) is on display. Prominently featuring his aunt Amrita, the work was described by Sundaram at the time as a “photo-dream-love-play'. One of Sundaram's best-known works is Re-take of ‘Amrita’ (2001-2005), in which photos of his family taken by his grandfather Umrao Singh Sher-Gil between 1904 to 1940s are remixed and collaged through Photoshop, to create tableaux that skew space, time, and, therefore, reality. Vivan Sundaram's Sisters with Two Girls (2001) Comprised of a number of individually titled smaller parts, the work forms a commemorative tomb for an unknown victim of the civil conflict around the razing of Babri mosque in Ayodhya in 1992 by Hindu extremists. Here he showed two sculptures, Mausoleum (1993) and Gun Carriage (1995), which depicted a Mumbai riot victim.īoth these works were part of his room-sized installation Memorial (1993–2014), created in response to violent conflict between Hindu and Muslim groups in Bombay (now Mumbai) in the early 1990s. In 2003, one year after the 2002 Gujarat riots that saw communal violence tear across India, Sundaram took part in a group show at the Safdar Hashmi Memorial Trust in New Delhi-of which he was a founding trustee. His later life, largely spent in Delhi and Mumbai, saw him enjoy a successful career embedded in the Indian art community, helping to promote the country's art scene on the global stage and galvanise it around social issues. On his return to India in 1971, he worked with artists’ and students’ groups to organise events and protests, especially during the years of Indira Gandhi's Emergency. Early works of his, such as the painting May 68 (1968), held in the Tate collection, reference the civil unrest that broke out in Paris during the protests of May 1968-an incident that greatly influenced the young Sundaram and provoked him to set up a commune in London where he lived till 1970. Should his works be bound by a style or theme, they find in common a deep and sustained concern with activist and social issues within both India and the wider world. This gives a smoother appearance, but is imprecise and cuts a few of the characters off.Over six decades, Sundaram produced a wide-ranging and aesthetically varied body of work that includes painting, sculpture, photography, digital art and room-spanning installations-according to his gallery, Chemould Prescott Road, Sundaram was the first installation artist in India. To work around this, I oversized the text-stroke and then tried to position each glyph so that the stroke slightly overflowed the container and was cut off. Additionally, text shadows are sized using the inside of the glyph and end up smaller.

All text strokes are drawn on the outside of the glyph which changes the shape of the glyph. Second, text-stroke is still crudely implemented in browsers. This was worked around a bit by adding a very soft light box-shadow on the side that has the border-radius. First, is that setting a border-radius and overflow: hidden breaks anti-aliasing on the border-radius, leaving a jagged appearance.

Recreated using flexbox, grid, text shadows, and text strokes.

#Pop art text code#

About a code Western Electric Big Button PhoneĪ recreation of the Western Electric Big Button phone produced in the 1970s.