https://bhashachakrabarti.com Bhasha Fri, 28 Aug 2026 14:52:33 +0000 https://bhashachakrabarti.com en https://bhashachakrabarti.com/Home Sat, 09 May 2020 20:42:39 +0000 Bhasha https://bhashachakrabarti.com/Home <img width="3103" height="4096" width_o="3103" height_o="4096" data-src="https://freight.cargo.site/t/original/i/e67a4a826696d73eb8a8ee64d7ba36e25dfbed7dff198c1e2e9af80f28c7f1fc/6_Bhasha_AProposalYale.jpg" data-mid="252116627" border="0" src="https://freight.cargo.site/w/1000/i/e67a4a826696d73eb8a8ee64d7ba36e25dfbed7dff198c1e2e9af80f28c7f1fc/6_Bhasha_AProposalYale.jpg" /><img width="1452" height="2474" width_o="1452" height_o="2474" data-src="https://freight.cargo.site/t/original/i/04641ad201bf7a522b8b25f576b6f62bab614e856be5b9989867f1f50a4ca142/Kaghazi-Hai-Pairahan.jpg" data-mid="252944029" border="0" src="https://freight.cargo.site/w/1000/i/04641ad201bf7a522b8b25f576b6f62bab614e856be5b9989867f1f50a4ca142/Kaghazi-Hai-Pairahan.jpg" /><img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a851e27adf1dde91333e71d3d606c6694525d61c0548e2c1c21f4701be7498fd/Its-a-Blue-World-back.jpg" data-mid="252941935" border="0" src="https://freight.cargo.site/w/1000/i/a851e27adf1dde91333e71d3d606c6694525d61c0548e2c1c21f4701be7498fd/Its-a-Blue-World-back.jpg" /> <img width="2431" height="2962" width_o="2431" height_o="2962" data-src="https://freight.cargo.site/t/original/i/03c050df45e6cd243b29e2f51b7d44a298b21c1582f6326e4531fae344dd0be8/IMG_9743.jpg" data-mid="72089691" border="0" src="https://freight.cargo.site/w/1000/i/03c050df45e6cd243b29e2f51b7d44a298b21c1582f6326e4531fae344dd0be8/IMG_9743.jpg" /> https://bhashachakrabarti.com/About Tue, 12 May 2020 20:35:11 +0000 Bhasha https://bhashachakrabarti.com/About Bhasha Chakrabarti engages artmaking as mending, both literally and metaphorically. Her interdisciplinary practice spans quilting, painting, film, and installation, exploring textiles' politics and poetics—how fabrics, are made, transported, bartered, loved, gendered, classed, and lived in and with. Graduating from Yale School of Art (2022) with an MFA in Painting and Printmaking, she has exhibited in group and solo exhibition at Dhaka Art Summit, Jeffrey Deitch, Experimenter, Rhode Island School of Design Museum, the British Textile Biennale, and most recently, the sixth edition of Kochi-Muziris Biennale. Chakrabarti was the recipient of the 2021 Beinecke Research Fellowship, semi-finalist for Smithsonian's Outwin-Boochever Portrait Competition in 2022, and awarded the 2023 South Asia Artist Prize by UC Berkeley. She has participated in multiple residencies including Civitella Ranieri in Italy, Ekard Residency in the Netherlands, and Hampi Art Labs in India. Most recently she completed a fellowship at the Humboldt University Institute of Advanced Study in Berlin. Her work is in permanent collections at institutions around the world including the Los Angeles County Museum of Art, M+ Museum in Hong Kong, and Museum of Art and Photography in Bangalore. She is currently based across Honolulu, New Haven, Berlin, and New Delhi. For more information you can read her statement*, connect with her on instagram*, or contact her at bhashaalways@gmail.com https://bhashachakrabarti.com/Statement Thu, 14 May 2020 15:56:37 +0000 Bhasha https://bhashachakrabarti.com/Statement My practice examines the material, political, and conceptual possibilities in gestures of covering and revealing. Working across painting, installation, sculpture, and film, I explore art as a mode of public discourse, rather than being a private, self-contained discipline. Raised in Hawai’i and of South Asian ancestry, I draw from academic and archival research, friendships and familial relationships, and extended tutelage under a range of makers—women doing kantha stitching in Bengal, rafoogars (darners) of Kashmir, lauhala weavers on O’ahu, and African American quilters of Gee's Bend. Enmeshing myself within these historically marginalized aesthetic traditions allows me to unwrap and challenge the structures upholding dominant epistemological hierarchies that are otherwise dependent on a stifling occlusion of embodiment and a willful erasure of feminine labor and indigenous knowledge(s). As the primary ‘cover’ in our daily life, textile is often present in my work. The affinity that cloth has with the body—when used as garment, rag, swaddle, or shroud, when being produced through weaving, dyeing, piecing, and stitching, and when being circulated through complex networks of trade, gifting, and exchange—makes it a unique and layered site for the exploration of identity, sexuality, and labor. Hence, textiles can be seen as a drape or a wrap for the body of my subject or my artwork, as the support and subject matter of my painting, and as a surrogate for skin. Here the act of covering is articulated as simultaneously violent and tender, annihilative and creative, antagonistic and protective. Textiles in my practice therefore, become modalities through which to contend with human entanglements in histories of oppression and struggles for liberation. They also gesture to the ruptures in society, as well as the possibilities of mending, patching, and being quilted together in uncommon ways. Through painting and film, I challenge long-standing Western conventions of depicting idealized, captive, and exploited bodies and landscapes. This often happens through a performance of excessive exposure and an intentional use of scale, repetition, nudity and, often, eroticism. As a result, I enact brown jouissance, defined by Amber Jamilla Musser as knowledge-producing sensuality and sexuality that resides within the fleshiness of a brown, femme body and exceeds the constraints of objectification constantly placed upon it. These acts of ‘revealing’, along with the leaning into the richness of non-Western textile traditions, become radical ways of resisting colonial and capitalist systems that deny black and brown bodies as agentive sites of pleasure, knowledge, and value. My practice, thus, is exposing pre-existing historical, ideological, and material intimacies across the global South, while also making visible existing interdependencies between marginalized communities in the North. Through these revelations, my works imagine and create alternative solidarities and epistemic frameworks that can be used to cover, swaddle, and protect our angry, grieving, tired bodies as we dream of radically equitable futures which we can begin crafting today. https://bhashachakrabarti.com/32-Gestures-of-Devotion Wed, 05 Aug 2026 11:04:32 +0000 Bhasha https://bhashachakrabarti.com/32-Gestures-of-Devotion 32 Gestures of Devotion <img width="3889" height="2105" width_o="3889" height_o="2105" data-src="https://freight.cargo.site/t/original/i/16ba53959f7534504a5217129f3614dda95e5544a7ab095653dbca013cb40712/_DSC0140.jpeg" data-mid="251116667" border="0" src="https://freight.cargo.site/w/1000/i/16ba53959f7534504a5217129f3614dda95e5544a7ab095653dbca013cb40712/_DSC0140.jpeg" /> 32 Gestures of Devotion&nbsp; // 2026Oil on panel, projection, stereo sound32 panels, 30 x 30 cm each 6 minutes Inspired by the classic Indian text, Singhasan Battisi (Thirty-Two Tales of the Throne), in which the carvings in the seat of Vikramaditya come to life and narrate stories about the fabled emperor, this work presents 32 oil paintings of garments once used to dress the artist’s grandmother’s Gopal idol (the infant Krishna). Their folds, stains, and tears testify to the intertwined lives of the divine child and its devotee. Atop the paintings, a projection, set to Alice Coltrane’s Transcendence, stages hands engaged in choreographies of care across domestic, religious, and institutional contexts. Using footage from YouTube tutorials—dressing a baby, adorning Gopal, conserving textiles—the work exposes shared rituals of care in childrearing, worship, and museum collection maintenance, imbuing these objects with an auratic charge that exceeds their present state. The artist forages for sensations of touch, belonging, and care, embedded in objects once made, held, and used by women in her family for daily devotional practices. Having grown up with parents whose inter-caste marriage was rejected by her father’s family’s religiosity, complicates Chakrabarti’s relationship with these seemingly harmless things. Rummaging through likely and unlikely ‘inheritances’, becomes a way to come to terms with loss, contend with the politics of ritual, and trace ideological genealogies. <img width="1210" height="1188" width_o="1210" height_o="1188" data-src="https://freight.cargo.site/t/original/i/1426fb662f3a6eeacd60f3c93094bcac6bf5c054012a7f5e9f7cfa80fe6c660d/6a18756f3e0e10.68195892_36070dde-7848-4876-9b01-04c3363b02b7.jpg" data-mid="250981314" border="0" src="https://freight.cargo.site/w/1000/i/1426fb662f3a6eeacd60f3c93094bcac6bf5c054012a7f5e9f7cfa80fe6c660d/6a18756f3e0e10.68195892_36070dde-7848-4876-9b01-04c3363b02b7.jpg" /> <img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/4b3256012e60183a2061d4771484e6b5b0df8bfe52a35fe0bbd9298309648fb8/_DSC0334-copy.jpg" data-mid="250981317" border="0" src="https://freight.cargo.site/w/1000/i/4b3256012e60183a2061d4771484e6b5b0df8bfe52a35fe0bbd9298309648fb8/_DSC0334-copy.jpg" /> <img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/61744298f0dcff59fd9fc06eb6686b5068f659b9e3598505fd3d9e07e77ecc8c/_DSC0325-copy.jpg" data-mid="250981316" border="0" src="https://freight.cargo.site/w/1000/i/61744298f0dcff59fd9fc06eb6686b5068f659b9e3598505fd3d9e07e77ecc8c/_DSC0325-copy.jpg" /> <img width="1209" height="1209" width_o="1209" height_o="1209" data-src="https://freight.cargo.site/t/original/i/036975a5a5015f86e16240749faae8b5db2e7c665a933373c014bc034760a4a9/6a1876489150d0.29821311_Screenshot-2026-04-03-at-14.49.01-2.jpg" data-mid="250981315" border="0" src="https://freight.cargo.site/w/1000/i/036975a5a5015f86e16240749faae8b5db2e7c665a933373c014bc034760a4a9/6a1876489150d0.29821311_Screenshot-2026-04-03-at-14.49.01-2.jpg" /> https://bhashachakrabarti.com/Diasporic-Transcriptions Sun, 09 Aug 2026 12:05:52 +0000 Bhasha https://bhashachakrabarti.com/Diasporic-Transcriptions Diasporic Transcriptions “Everyday object and artwork in one go. Domestic commodity, which is at the same time the conceptual device. The quilt stands/lies/hangs before us as a speculative object without transcending the fact that it is a plain, mundane thing. Not entirely either and yet both, “undecidable”,” — excerpt from “Textile Art—Who Are You?” (2001) by Sarat Maharaj <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/51cadb10bf133d897aab7c3c2e6a69081fb75b729f4c4be37ae2ec4996323c74/jpg.jpg" data-mid="251092277" border="0" src="https://freight.cargo.site/w/1000/i/51cadb10bf133d897aab7c3c2e6a69081fb75b729f4c4be37ae2ec4996323c74/jpg.jpg" /> “The history he has been taught is the history of the plantation, the official history of the superstructure; the only history which has been written. But the plot too has its own history. A secretive history expressed in folk song…” — excerpt from “Novel &amp; History, Plot &amp; Plantation” (1971) by Sylvia Wynter <img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/c2234b030a3d102c2e18e2fd6e8319c9fb60c35e1b505d39eace0f202f34dcef/_ABI2188.jpg" data-mid="251092278" border="0" src="https://freight.cargo.site/w/1000/i/c2234b030a3d102c2e18e2fd6e8319c9fb60c35e1b505d39eace0f202f34dcef/_ABI2188.jpg" /> Diasporic Transcriptions&nbsp; // 20257 used clothing quilts, 7 encaustic paintings on handmade paper, 6-channel immersive sound Site specific, 20 minutes&nbsp; Diasporic Transcriptions is an installation of seven floating quilts pieced together from the used clothing of multiple generations of her family. Chakrabarti’s textiles are embroidered with maps and landmarks of their places of making. The double-sided quilts are accompanied by seven encaustic paintings on paper made from cloth scraps left behind in the quilting process as contextual footnotes, sharing moments of quilters working and resting. A patchworked soundscape wraps around the space, swaddling viewers in the voices of African-American women in Alabama and Siddi women in Karnataka, whose companionship and counsel have nourished this body of work. <img width="3915" height="3110" width_o="3915" height_o="3110" data-src="https://freight.cargo.site/t/original/i/03d3d52e28fa7fbc19f49198e8ba7600e6287c0bb1dba46378afe92f3c7034c4/IMG_0744.jpeg" data-mid="251092281" border="0" src="https://freight.cargo.site/w/1000/i/03d3d52e28fa7fbc19f49198e8ba7600e6287c0bb1dba46378afe92f3c7034c4/IMG_0744.jpeg" /> <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/82e509d91c3999fe75515b441e3b7e5b5a165b5b22528806aebdcc93a459ae41/IMG_0005.jpeg" data-mid="251092279" border="0" src="https://freight.cargo.site/w/1000/i/82e509d91c3999fe75515b441e3b7e5b5a165b5b22528806aebdcc93a459ae41/IMG_0005.jpeg" /> <img width="4200" height="2800" width_o="4200" height_o="2800" data-src="https://freight.cargo.site/t/original/i/e1f085756a80b3684f139f6f6ea69329b7630d37430329e31bdc4bda77b8e45b/_JB_0013-1.jpg" data-mid="251092274" border="0" src="https://freight.cargo.site/w/1000/i/e1f085756a80b3684f139f6f6ea69329b7630d37430329e31bdc4bda77b8e45b/_JB_0013-1.jpg" /> Chakrabarti draws on Jamaican writer Sylvia Wynter’s concept of the “plot”— land within plantations allocated to enslaved peoples to plant their own food, which grew to be sites of resistance to the violent extractive logic of the plantation. Diasporic Transcriptions returns to the “plot” through acts of quilting and collective singing that often accompanies it as resonant methods that reveal possibilities in use value, ancestral knowledge, and kinship. The physical act of stitching with a needle between one’s fingers and emitting a musical note with one’s throat, play off of one another, producing subtle variations in both song and quilt. As visitors encounter the harmonising of differently located Black and brown quilt-makers spanning, past, present, and future, Diasporic Transcriptions highlights the radical relationship between visual, tactile, and musical composition, and encourages us to listen beyond the surface. <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/d0c9c23fedad35290b3e9b64ac95f460916ae117582bf3fe4f76c225d28da1c8/IMG_0018.jpeg" data-mid="251092280" border="0" src="https://freight.cargo.site/w/1000/i/d0c9c23fedad35290b3e9b64ac95f460916ae117582bf3fe4f76c225d28da1c8/IMG_0018.jpeg" /> <img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/1163117cc2533dd51773c704ba9443ccc7388a7b8e68df9193bd51aa8c5411a7/_JB_0790-copy.jpg" data-mid="251092275" border="0" src="https://freight.cargo.site/w/1000/i/1163117cc2533dd51773c704ba9443ccc7388a7b8e68df9193bd51aa8c5411a7/_JB_0790-copy.jpg" /> <img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/9f127d3e74a7c1f5cdb5e3244744cc1068c8ad818ce5bac100f289940e11cc89/_JB_0838-copy.jpg" data-mid="251092276" border="0" src="https://freight.cargo.site/w/1000/i/9f127d3e74a7c1f5cdb5e3244744cc1068c8ad818ce5bac100f289940e11cc89/_JB_0838-copy.jpg" /> https://bhashachakrabarti.com/Parsi-Gara Mon, 03 Aug 2026 12:18:29 +0000 Bhasha https://bhashachakrabarti.com/Parsi-Gara The Intoxication of the Flower, the Exhaustion of the Labor, the Circulation of the Seas, and the Seduction of the StitchIn the late 1700s the ships of Parsi merchants began returning to Bombay, India, from Canton, China, with recently emptied opium chests full of richly embroidered silks. These elaborate foreign textiles, adorned with unmistakable Chinese motifs of bats, peonies, moths, and cranes, were quickly embraced by Indians, ultimately becoming an iconic type of saree known as the Parsi gara. While these unique embroidered garments continue to be valued and celebrated today for pushing against notions of tradition and culture as bound by borders, we seem to have tucked away into the pleats and folds of the gara the painful histories of exploitation wrapped up in their creation. <img width="3750" height="3923" width_o="3750" height_o="3923" data-src="https://freight.cargo.site/t/original/i/2947cd29d82a29ba0003bec6c4b895cfa6ed17257ae6ad68c36534bd3d838b8a/IMG_4949.jpeg" data-mid="250979647" border="0" src="https://freight.cargo.site/w/1000/i/2947cd29d82a29ba0003bec6c4b895cfa6ed17257ae6ad68c36534bd3d838b8a/IMG_4949.jpeg" /> <img width="4800" height="3855" width_o="4800" height_o="3855" data-src="https://freight.cargo.site/t/original/i/08434005e265c371f9e70d95e9b0f0078d87fa7238c04aae647743d4f3f8e677/6a186a3697fb16.03165502_The-Flower--The-Labor--The-Sea----The-Stitch.jpg" data-mid="251045665" border="0" src="https://freight.cargo.site/w/1000/i/08434005e265c371f9e70d95e9b0f0078d87fa7238c04aae647743d4f3f8e677/6a186a3697fb16.03165502_The-Flower--The-Labor--The-Sea----The-Stitch.jpg" /> <img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/038447258e980c61b2a9a2a7f5d51596af7fc204e3d38fa3d4191d655e0ed2de/6a186aad22f956.89537858_IMG_4971.jpg" data-mid="251045666" border="0" src="https://freight.cargo.site/w/1000/i/038447258e980c61b2a9a2a7f5d51596af7fc204e3d38fa3d4191d655e0ed2de/6a186aad22f956.89537858_IMG_4971.jpg" /> The Intoxication of the Flower, the Exhaustion of the Labor, the Circulation of the Seas, and the Seduction of the Stitch Created with Ashdeen Lilaowala 2023 - 2025 Silk thread, handwoven raw silk, reactive dye&nbsp;44 x 216 inches Made as a garment, map, historical archive, and embroidery sampler, this saree tells the story of Parsi gara, a style of saree which emerged specifically through the opium trade. While the gara with its distinct Indo-Chinese style of embroidery remains popular today, its cosmopolitan origins and entanglement with a deeply impactful and ruinous history are rarely discussed.Referencing trade routes, colonial paintings, family photographs, and a wide collection of gara embroidery, this work is a visual compendium of the complex social, geographical, economic, and political histories embedded in the lustrous silks and minute stitches of these historic garments. <img width="3600" height="3348" width_o="3600" height_o="3348" data-src="https://freight.cargo.site/t/original/i/b38e0f91c9770d82d711494152dec9aaf86ec189921a5eff740ad5b8767210f5/_DSC3953.jpg" data-mid="251046162" border="0" src="https://freight.cargo.site/w/1000/i/b38e0f91c9770d82d711494152dec9aaf86ec189921a5eff740ad5b8767210f5/_DSC3953.jpg" /> The Intoxication of the Flower, the Exhaustion of the Labor, and the Seduction of the Sea The earliest Parsi garas, dating back to the late 1700s, were largely made by cutting, joining, and rearranging traditional Chinese narrow-width silks, shawls, throws, furnishing textiles, and wall hangings carried from Canton by Parsi merchants for their wives in Bombay. Given the aesthetic, monetary, and cultural significance of gara, both then and now it is common practice to carefully cut and transfer portions from older and worn-out pieces onto fresh yardage to create new sarees or turn them into tops, trousers, or other accessories. This triptych of stitched collages draws on this history of piecing together and repurposing existing material. Comprising archival maps, paintings, drawings, and samplers as both research and raw material, these pieces weave in the tragic context of colonial botanical sciences, forced agricultural labor, and politically strategized modes of spreading addiction in both India and China to highlight how they contributed to the birth of the beautiful and coveted form of embroidery we see in Parsi garas. <img width="3468" height="4800" width_o="3468" height_o="4800" data-src="https://freight.cargo.site/t/original/i/c6e1cf195b76c377d88c9d6e8c7d77c6af3334baeb107310259d5cd4c3ab639c/The-Intoxication-of-the-Flower_detail.JPG" data-mid="251046210" border="0" src="https://freight.cargo.site/w/1000/i/c6e1cf195b76c377d88c9d6e8c7d77c6af3334baeb107310259d5cd4c3ab639c/The-Intoxication-of-the-Flower_detail.JPG" /> <img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/da6874278dcec16868fb74e5ab1172ce0a10b774dd592533b3dd30afc37d89e7/Intoxication-of-the-Flower-detail.jpg" data-mid="251046208" border="0" src="https://freight.cargo.site/w/1000/i/da6874278dcec16868fb74e5ab1172ce0a10b774dd592533b3dd30afc37d89e7/Intoxication-of-the-Flower-detail.jpg" /> The Intoxication of the Flower // 2023 Parsi-gara embroidery samples, antique maps of trade routes between London, India &amp; China, 19th century botanical illustrations of Papaver somniferum, image transfers, and thread on linen paper 30 x 44.75 x 2.25 inches <img width="6000" height="4800" width_o="6000" height_o="4800" data-src="https://freight.cargo.site/t/original/i/dd4782528c1f05fbbb1e00f5a0ba5f603b3c2aa9c95dee11b0100f559e77ff04/9_11_23_documentation_1.jpg" data-mid="251046268" border="0" src="https://freight.cargo.site/w/1000/i/dd4782528c1f05fbbb1e00f5a0ba5f603b3c2aa9c95dee11b0100f559e77ff04/9_11_23_documentation_1.jpg" /> <img width="4800" height="3840" width_o="4800" height_o="3840" data-src="https://freight.cargo.site/t/original/i/675345456db146a963aef4955a56e8b0ba5a825a0faebed46c16021858029d5a/9_11_23_documentation_2.jpg" data-mid="251046270" border="0" src="https://freight.cargo.site/w/1000/i/675345456db146a963aef4955a56e8b0ba5a825a0faebed46c16021858029d5a/9_11_23_documentation_2.jpg" /> <img width="1433" height="1478" width_o="1433" height_o="1478" data-src="https://freight.cargo.site/t/original/i/635bb64faec9761c7abab0949ee02e89576c2ab7ff9ddd59244f9a85715cb11d/The-Exhaustion-of-the-Labor.JPG" data-mid="251046275" border="0" src="https://freight.cargo.site/w/1000/i/635bb64faec9761c7abab0949ee02e89576c2ab7ff9ddd59244f9a85715cb11d/The-Exhaustion-of-the-Labor.JPG" /> The Exhaustion of the Labor // 2023Dried papaver somniferum, Parsi-gara embroidery samples, illustrations of opium production in colonial India on habutai silk, illustrations of opium smokers in 19th century China on silk organza, image transfers, and thread on linen paper 30 x 44.75 x 2.25 inches <img width="3559" height="4967" width_o="3559" height_o="4967" data-src="https://freight.cargo.site/t/original/i/39e38eb48bce360d5b7b6bfb46e3868bf3addd23143d2b5e8506981c12678a88/The-Seduction-of-the-Sea.JPG" data-mid="251046314" border="0" src="https://freight.cargo.site/w/1000/i/39e38eb48bce360d5b7b6bfb46e3868bf3addd23143d2b5e8506981c12678a88/The-Seduction-of-the-Sea.JPG" /> <img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/d4e0ea228bc1c9a520dd569e244be57a7074f0666d5a38c0c95578e69481ff72/9_11_23_documentation_5.jpg" data-mid="251046309" border="0" src="https://freight.cargo.site/w/1000/i/d4e0ea228bc1c9a520dd569e244be57a7074f0666d5a38c0c95578e69481ff72/9_11_23_documentation_5.jpg" /> <img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/ee0c3230a4d8047c56c70bb59ceea2a6fc1fb9f5daa7ebe67ef6734dfdbd0e5d/Seduction-of-the-Sea-detail.jpg" data-mid="251046311" border="0" src="https://freight.cargo.site/w/1000/i/ee0c3230a4d8047c56c70bb59ceea2a6fc1fb9f5daa7ebe67ef6734dfdbd0e5d/Seduction-of-the-Sea-detail.jpg" /> The Seduction of the Sea // 2023 Parsi-gara embroidery border, Parsi-gara embroidery sample, oil on found photograph, image transfers, and thread on linen paper30 x 44.75 x 2.25 inches <img width="4800" height="3494" width_o="4800" height_o="3494" data-src="https://freight.cargo.site/t/original/i/06786b62c97215af923e5e05d128679a38685e0882cdf6f632c5543cdd59b12e/6a186e31d9efc9.62511070_How-To-Drape_Video-Install.jpg" data-mid="251045668" border="0" src="https://freight.cargo.site/w/1000/i/06786b62c97215af923e5e05d128679a38685e0882cdf6f632c5543cdd59b12e/6a186e31d9efc9.62511070_How-To-Drape_Video-Install.jpg" /> The museumization of a garment, especially one belonging to a marginalized or minority culture, even if well intentioned can easily perpetuate a violent cycle of objectification. As artifacts are distanced from their embedded practices in museums, their physicality tends to be prioritized over the embodied reality of their makers and users.. This video offers an alternative glimpse into the history mapped onto the saree, as the viewer is invited to follow the patterns, borders, and trade routes now wrapped, tied, pleated, and draped around the body of the artist. By presenting the exhibited piece as worn, this short video reminds us of the Parsi gara’s essential relationship with the body, thereby providing crucial context for knowing the gara – and situating the adorned body itself in a complex socio-political history. The saree here is draped in the nivi style, now widely considered to be the standard and most universal way of wearing sarees across India and the world. This drape is said to have been invented in the 1860s by Jnanadanandini Tagore after she moved to Bombay and was heavily inspired by the way Parsi women wore their signature Chinese embroidered silks. Thus, it can be said that garas have in fact impacted the way in which all sarees are worn today. (How) To Wear a Gara, Nivi Drape 2025 &nbsp; HD Video2 minutes 20 seconds https://bhashachakrabarti.com/Silverpoints Mon, 17 Aug 2026 13:32:50 +0000 Bhasha https://bhashachakrabarti.com/Silverpoints बिस्तर मन्थन (The Churning of the Sheets) पृष्ठेभ्राम्यदमन्दमन्दरिगिरग्रावाग्रकण्डूयना- न्निद्रालो: कमठाकृ तेभर्गवत: श्वासािनला: पान्तुव: । यत्संस्कारकलानुवतर्नवशाद्वेलािनभेनाम्भसां यातायातमतिन्द्रतंजलिनधेनार्द्यािप विश्राम्यित ॥ २ ॥ While the colossal mountain Mandara — being used as a churner — rotates on his back, Vishnu, in his turtle form, begins to feel drowsy and breathes deeply, From the force of his primal inhalations and exhalations, the waters of the cosmic ocean crash forward and pull back on the shores — an ebb and flow of the tides and currents that continues till today. — Bhāgavata Purāna, 12.13.2 <img width="1833" height="1111" width_o="1833" height_o="1111" data-src="https://freight.cargo.site/t/original/i/c762bdf433ab9c3a73337c73a828043273a9d5af6d85f19c4f3e436e6887edf1/_00A8488-HDR-2.jpg" data-mid="253403699" border="0" src="https://freight.cargo.site/w/1000/i/c762bdf433ab9c3a73337c73a828043273a9d5af6d85f19c4f3e436e6887edf1/_00A8488-HDR-2.jpg" />बिस्तर-मन्थन (The Churning of the Sheets)&nbsp; // 2024Pure silver on Arches oil paper, grounded with rabbit skin glue, marble dust, gouache, and indigo 48 x 80 inchesबिस्तर-मन्थन is a silverpoint drawing of a post-coital bed done to the scale of an ‘antique mattress’. However, the alchemy of silver, marble dust, rabbit skin glue, and indigo in the work seem to allow this carnal and quotidian scene to stir up a celestial tableau of mythic proportions. The crumpled sheets begin to swirl into whirlpools, the peaks and folds of fabric become crests and troughs of waves, and clusters of creases turn to spume — all harkening back to the first churning of the seas: the samudra manthan. In the classical legend of the samudra manthan, the gods and the demons churn the primordial ocean in order to produce amrit, the nectar of immortality. It is perhaps apt then that the lovers’ bed be compared to this divine episode, as the moments of pleasure achieved through the churning of the sheets are maybe the only glimpses which us earthly beings are afforded at the elusive elixir of life. “In Nephology I, II and III, Chakrabarti draws bedsheets on indigo grounded paper made from old linens—marking a subject onto its past life through silverpoint drawings as though it were both a revision and recollection. Titled as the study of clouds, it opens itself out to an exercise of watching and observing as personal experiences. In her juxtapositions of body, bed, cloud, sky, Chakrabarti allows for wonder to filter in from the expanse of the sky and seep out into the possibilities of intimacy in the bedroom.” — excerpt from کروٹ | करवट | Karvat (2024) exhibition text by Mario D’Souza <img width="2504" height="3067" width_o="2504" height_o="3067" data-src="https://freight.cargo.site/t/original/i/8c23aa95f6457ef40df448ccea7a38d45c80bc32ffa0df46271e55b4df42e967/Nephology-I.jpg" data-mid="251642510" border="0" src="https://freight.cargo.site/w/1000/i/8c23aa95f6457ef40df448ccea7a38d45c80bc32ffa0df46271e55b4df42e967/Nephology-I.jpg" /> Nephology I // 2024Pure silver on paper handmade from used bed linens, indigofera tinctoria, rabbit skin glue, marble dust 27 x 22 inches <img width="2205" height="2926" width_o="2205" height_o="2926" data-src="https://freight.cargo.site/t/original/i/2d12cc799865a94b722d738d37a11f6f9ca161903cc83106e55e9eeaa62beead/Nephology-II.jpg" data-mid="251642511" border="0" src="https://freight.cargo.site/w/1000/i/2d12cc799865a94b722d738d37a11f6f9ca161903cc83106e55e9eeaa62beead/Nephology-II.jpg" /> Nephology II&nbsp;// 2024Pure silver on paper handmade from used bed linens, indigofera tinctoria, rabbit skin glue, marble dust27 x 22 inches <img width="2332" height="3240" width_o="2332" height_o="3240" data-src="https://freight.cargo.site/t/original/i/7680a79608a1b9200f408fa4320ae47effec11ffe3f5eb0a1aea4292a7723cd0/Nephology-III.jpg" data-mid="251642512" border="0" src="https://freight.cargo.site/w/1000/i/7680a79608a1b9200f408fa4320ae47effec11ffe3f5eb0a1aea4292a7723cd0/Nephology-III.jpg" />Nephology III&nbsp;// 2024Pure silver on paper handmade from used bed linens, indigofera tinctoria, rabbit skin glue, marble dust27 x 22 inches https://bhashachakrabarti.com/Ajaibghar Fri, 28 Aug 2026 14:52:33 +0000 Bhasha https://bhashachakrabarti.com/Ajaibghar Ajaibghar<img width="3750" height="2501" width_o="3750" height_o="2501" data-src="https://freight.cargo.site/t/original/i/377ce53e2eb116293fb929843da2cde8a4faea9fad30c1f2e04cef18a8af3a25/Chakrabarti_Installation_Ajaibghar.jpg" data-mid="251662175" border="0" src="https://freight.cargo.site/w/1000/i/377ce53e2eb116293fb929843da2cde8a4faea9fad30c1f2e04cef18a8af3a25/Chakrabarti_Installation_Ajaibghar.jpg" /> Ajaibghar (House of Wonder) is an installation based on a series of 10 Deccani ragamala paintings at the Indian Museum in Kolkata. Made in collaboration with musician Hania Luthufi, the primary element of this installation is a series of 10 pieces of second-hand&nbsp; household furniture (one corresponding to each raga referenced in the set of paintings), which have been transformed into painted music boxes. Appearing rather ordinary on the outside, when one opens a drawer, lifts the lid of a chest, or opens a cabinet door, a painting is revealed and a sound piece begins to play; shut the drawer, lid, or door, and the sound stops and the painting is obscured. In this way these pieces hope to reactivate the aural and visual entanglements which the ragamala painting tradition perhaps aspired to embody while simultaneously attempting to concretely connect Hindustani “ragas” to their etymological root of “coloring” or “dyeing”.&nbsp; The gesture of opening and closing in order to see and hear, mirrors the intended intimacy in the viewing experience of a miniature ragamala painting as well as a literal manifestation of the interiority which is targeted by a Hindustani classical musician. Having ordinary home furniture be the containers for these works, calls to mind the ways in which the “classical” is inevitably drawn from and dependent on the daily and the ways in which the daily and domestic are essential sites of the ultimate classical aspirations of wonder and transcendence. Ajaibghar (Gaurmalhar) // 2024Found furniture, oil paint, single channel sound 19.75 x 13.625 x 7.875 inches <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/034c76d789a0426c4e3b7354944e7ec48b7b8ca06804b5a5c5f2073a2c1bd92f/Kakubha_DSC_4708-HDR_Ekard.jpg" data-mid="251662212" border="0" src="https://freight.cargo.site/w/1000/i/034c76d789a0426c4e3b7354944e7ec48b7b8ca06804b5a5c5f2073a2c1bd92f/Kakubha_DSC_4708-HDR_Ekard.jpg" />Ajaibghar (Kakubha) // 2024Found furniture, oil paint, single channel sound23.625 x 16.875 x 15.375 inches <img width="3069" height="4096" width_o="3069" height_o="4096" data-src="https://freight.cargo.site/t/original/i/833bd29ea97c0cc416d890f47b82b6be7935a546b54b9b25b7b3a9c367cab324/Todi_open-CF009254_New-Haven.jpg" data-mid="251662241" border="0" src="https://freight.cargo.site/w/1000/i/833bd29ea97c0cc416d890f47b82b6be7935a546b54b9b25b7b3a9c367cab324/Todi_open-CF009254_New-Haven.jpg" /><img width="4096" height="3069" width_o="4096" height_o="3069" data-src="https://freight.cargo.site/t/original/i/f4bec5ab0d5fb02a3236fef6354a9e7a2e42f781ee3a4337c91cac419fb872de/Todi_drawer-detail-CF009276_New-Haven.jpg" data-mid="251662240" border="0" src="https://freight.cargo.site/w/1000/i/f4bec5ab0d5fb02a3236fef6354a9e7a2e42f781ee3a4337c91cac419fb872de/Todi_drawer-detail-CF009276_New-Haven.jpg" /> Ajaibghar (Todi) // 2024Found furniture, oil paint, brass, candles, vintage tea towel, single channel sound30 x 28 x 8 inches <img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/0ffa06992d4524b8719ba62c9086438f17acd7c7d6bbe9c8e3a829f71a833c10/Meghamalhar_DSC_5001-HDR_Ekard.jpg" data-mid="251662221" border="0" src="https://freight.cargo.site/w/1000/i/0ffa06992d4524b8719ba62c9086438f17acd7c7d6bbe9c8e3a829f71a833c10/Meghamalhar_DSC_5001-HDR_Ekard.jpg" />Ajaibghar (Meghamalhar) // 2024Found furniture, oil paint, single channel sound33.875 x 25.25 x 15.375 inches <img width="2700" height="4051" width_o="2700" height_o="4051" data-src="https://freight.cargo.site/t/original/i/a64fd201fa982c63b131f0ef8abf227f5d7ca9759fde24ea13eb7f2cba9e9995/Chakrabarti_05_01_Sarang.jpg" data-mid="251662228" border="0" src="https://freight.cargo.site/w/1000/i/a64fd201fa982c63b131f0ef8abf227f5d7ca9759fde24ea13eb7f2cba9e9995/Chakrabarti_05_01_Sarang.jpg" /> Ajaibghar (Sarang) // 2024Found furniture, oil paint, single channel sound37.75 x 23.25 x 9.875 inches Ajaibghar (Deepak) // 2024Found furniture, oil paint, stereo sound, LED bulbLamp base and shade: 23.625 x 16.125 x 16.125 inches Stool: 30.75 x 15.375 x 15.375 inches “Chakrabarti lets the interior spaces, particularly the zenana of the Nawab’s house (Begum Jaan’s domain) spill into the exhibition space. Reimagined as a red room á la Matisse, she loads this milieu with a diversity of references. The Venetian Red, for example, comes from hematite and was used across history from the primal 17,000-year-old cave paintings of Lascaux to the murals of Pompeii. Chakrabarti has been scouring mining waste to mill and extract her own pigments to paint bodies with literal landscape dust. It wouldn’t be a stretch to connect these impulses to the animalesque in Lascaux or scenes of unbounded pleasure in Pompeii or more directly to the Deccani Ragamala paintings in the Indian Museum in Calcutta that she reinterprets in her Ajaibghar series. Furniture is foraged and painted red with golden borders, and imbued with music. Claiming both intimacy and touch, the raga spills out only when you open a drawer or pull a door. The lonely Begum Jaan is no different from the nayikas. In Todi Ragini, the heroine evokes both tenderness and sadness separated from her lover. Lost in a forest, her tunes attract a black buck even as the trees suggestively sway as music. In her interpretation in Ajaibghar (Todi), the time of the day remains suspended in a study of a blue sky with clouds, while two buck candle-stands are perched atop the drawer. In Ajaibghar (Hindol) the two arms of the nayika hold the ropes of a swing across an arrangement of two chairs, suggesting a solo flight. The swinging, is a rhythm unto itself. All these boxes open out to the sky at a time corresponding to the ragas, to suggest freedom with its possibilities. All these images also show the protagonist holding onto herself, another body, or an object — a fleshy grip that extends into a wanton desire.” -- excerpt from کروٹ | करवट | Karvat (2024) exhibition text by Mario D’Souza <img width="4096" height="3224" width_o="4096" height_o="3224" data-src="https://freight.cargo.site/t/original/i/5dd8e3ab4f0beb70399fd9c26a2dfc3e1904b552c5caa10a46942a94244735c4/Kakubha_CF009157.jpg" data-mid="251662203" border="0" src="https://freight.cargo.site/w/1000/i/5dd8e3ab4f0beb70399fd9c26a2dfc3e1904b552c5caa10a46942a94244735c4/Kakubha_CF009157.jpg" /> Ajaibghar (Hindol) // 2024Found furniture, oil paint, single channel sound37.5 x 21 x 32.5 inches <img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/17f4a89935d04ddb3bb937e0498fd09d29be401e687d788a6af27631c0c58830/Asavari_DSC_5178-HDR_Ekard.jpg" data-mid="251662179" border="0" src="https://freight.cargo.site/w/1000/i/17f4a89935d04ddb3bb937e0498fd09d29be401e687d788a6af27631c0c58830/Asavari_DSC_5178-HDR_Ekard.jpg" /> Ajaibghar (Asavari) // 2024Found furniture, oil paint, single channel sound30.75 x 13.375 x 6.75 inches Ajaibghar (Devagandhar) // 2024Found furniture, oil paint, single channel sound30.25 x 20.875 x 12.625 inches <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/420681184555cf83e112a1fb75ace9d5c56b16df6285974ff1268a08537f27e9/abnr2916.jpeg" data-mid="251662172" border="0" src="https://freight.cargo.site/w/1000/i/420681184555cf83e112a1fb75ace9d5c56b16df6285974ff1268a08537f27e9/abnr2916.jpeg" /> https://bhashachakrabarti.com/Kaghazi-Hai-Pairahan Mon, 17 Aug 2026 13:32:11 +0000 Bhasha https://bhashachakrabarti.com/Kaghazi-Hai-Pairahan Kaghazi Hai Pairahan Bhasha Chakrabarti’s 2024 exhibition, Karvat, derives and extends from Ismat Chughtai’s short story, “Lihaaf,” where two women explore desire in the shadows, comfort, and/or safety of the quilt. The protagonist of the story is Begum Jaan’s young, distant relative, at the threshold of adolescence herself, who witnesses and narrates the strange, recurrent, and seemingly violent phenomenon of the quilt rising, swirling and eventually falling flat, fatigued, in the dark of the night.&nbsp; The hisses, sighs, and rustling moans, with the bodies of Begum Jaan and her lover Rabbu finding states of alignment and friction, demonstrate an unrestricted desire made possible by the malleability of the lihaaf. <img width="4096" height="3719" width_o="4096" height_o="3719" data-src="https://freight.cargo.site/t/original/i/ff3ac7851ce6ea3136c6707180f1b88b8d7832ba2bb1f71ec690b1e7f39e4649/Kaghazi-Hai-Pairahan.jpg" data-mid="251313777" border="0" src="https://freight.cargo.site/w/1000/i/ff3ac7851ce6ea3136c6707180f1b88b8d7832ba2bb1f71ec690b1e7f39e4649/Kaghazi-Hai-Pairahan.jpg" /> <img width="2732" height="4096" width_o="2732" height_o="4096" data-src="https://freight.cargo.site/t/original/i/00e0e50c15f57c0458bedf61d2cb978add534edbcd43cf81bd70a84512a5060e/ABNR2972.jpg" data-mid="251313773" border="0" src="https://freight.cargo.site/w/1000/i/00e0e50c15f57c0458bedf61d2cb978add534edbcd43cf81bd70a84512a5060e/ABNR2972.jpg" /> <img width="4096" height="2732" width_o="4096" height_o="2732" data-src="https://freight.cargo.site/t/original/i/e9f59d0b468007f9c9519a8bde16388e3bd90a0196d69ecc2cfedeadd7f2fb7e/ABNR2945_1.jpg" data-mid="251313769" border="0" src="https://freight.cargo.site/w/1000/i/e9f59d0b468007f9c9519a8bde16388e3bd90a0196d69ecc2cfedeadd7f2fb7e/ABNR2945_1.jpg" /> Kaghazi Hai Pairahan // 2024 Pages from Ismat Chughtai's “Lihaaf” and Kaghazi Hai Pairahan, wheat paste, fermented persimmon tannins, oil on canvas&nbsp; Quilt: 168 x 120 inches Painting: 10 x 10 x 1 inches “Chakrabarti’s visual choreographies demand a closer look at the body and its field of movement to produce new structural affinities between sexuality and spatiality. Here, the metaphorical matures into the corporeal, turning suggestions or suggestiveness to hard evidence. In what may seem repetitive, are slight, unique variations that inevitably trick us into seeing new constellations of bodies and spaces. As much as with the body in states of rest and restlessness, Chakrabarti is also concerned with the body in labour and time. She consistently produces raw materials for her making, through foraging, grinding, churning, piecing, and recalibrating. Each of these acts is concerned with attuning the body to mind and muscle memory. These processes allow for chance, room for error and imperfections, failures and surprises. The stress on making with the hand is to imprint with touch. The traditional Japanese method of Kakishibu is employed to make the paper quilt titled Kaghazi Hai Pairahan. The dye made using persimmon juice is curative and in that sense produces a surface of healing and preservation. It is enmeshed with time in its processes of fermentation, and how it continues to deepen and mature over the years. These material gestures that we may not necessarily read in the works or even know of, continue to dwell within Chakrabarti’s practice. That this paper work, is made from pulping and layering Urdu, Hindi, and English translations of Chughtai’s “Lihaaf” marks a literal return to where it all started — like a beast beneath the quilt — present and in pleasure, under the surface, waiting to rise, swirl and swing, collapse maybe, but breathing.” — excerpt from کروٹ | करवट |&nbsp;Karvat (2024) exhibition text by Mario D’Souza <img width="2732" height="4096" width_o="2732" height_o="4096" data-src="https://freight.cargo.site/t/original/i/940363db274f6a74dca4f144524a62d8c59b6bb17afc17057d3f830af6334e1e/ABNR2948.jpg" data-mid="251313772" border="0" src="https://freight.cargo.site/w/1000/i/940363db274f6a74dca4f144524a62d8c59b6bb17afc17057d3f830af6334e1e/ABNR2948.jpg" /> <img width="4096" height="2732" width_o="4096" height_o="2732" data-src="https://freight.cargo.site/t/original/i/5345d151868cc1c80e4722a3c273c0769148caf5f2c56303519e9febbd744a95/ABNR2946.jpg" data-mid="251313770" border="0" src="https://freight.cargo.site/w/1000/i/5345d151868cc1c80e4722a3c273c0769148caf5f2c56303519e9febbd744a95/ABNR2946.jpg" /> <img width="4096" height="2732" width_o="4096" height_o="2732" data-src="https://freight.cargo.site/t/original/i/2db9efd29c384198d34969f3d704b09e03c31539e9bb7d3fc8faa332cf5e9bb3/ABNR2932.jpg" data-mid="251313768" border="0" src="https://freight.cargo.site/w/1000/i/2db9efd29c384198d34969f3d704b09e03c31539e9bb7d3fc8faa332cf5e9bb3/ABNR2932.jpg" /> <img width="4096" height="2732" width_o="4096" height_o="2732" data-src="https://freight.cargo.site/t/original/i/aaf7d1a9b211681ea4357c6efb6c83075bf6bbe3f72c02f43b59841dd4be83f0/ABNR2929_1.jpg" data-mid="251313767" border="0" src="https://freight.cargo.site/w/1000/i/aaf7d1a9b211681ea4357c6efb6c83075bf6bbe3f72c02f43b59841dd4be83f0/ABNR2929_1.jpg" /> <img width="2732" height="4096" width_o="2732" height_o="4096" data-src="https://freight.cargo.site/t/original/i/32d89994af3a15094873c213b72f14416735023218c1ac2371084e2a3bcb2dfa/ABNR2947.jpg" data-mid="251313771" border="0" src="https://freight.cargo.site/w/1000/i/32d89994af3a15094873c213b72f14416735023218c1ac2371084e2a3bcb2dfa/ABNR2947.jpg" /> https://bhashachakrabarti.com/Tender-Transgressions Mon, 03 Aug 2026 12:14:53 +0000 Bhasha https://bhashachakrabarti.com/Tender-Transgressions নরম অতিক্রমণ (Tender Transgressions)<img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/2f571a51a4192968976acc14e64c6886a34e877a457ec55c1256c650d150b711/Norom-Otikromon-Tender-Transgressions.jpg" data-mid="250979679" border="0" src="https://freight.cargo.site/w/1000/i/2f571a51a4192968976acc14e64c6886a34e877a457ec55c1256c650d150b711/Norom-Otikromon-Tender-Transgressions.jpg" /> নরম অতিক্রমণ (Tender Transgressions) 2022 - 2023 1001 used sarees, jute, bamboo, and banana, rice, and taro plants Site specific installation&nbsp; নরম অতিক্রমণ&nbsp;(Tender Transgressions)&nbsp;is a site specific installation which explores the concept of Bonna as the feminine form of bonno,&nbsp;meaning wild, untamable, and excessive, all words historically used to denigrate women’s sexuality. The large-scale work transforms nine columns that structurally hold up the building of the Bangladesh Shilpakala Academy into a jungle of anthropomorphic feminine forms. Meanwhile, a braid of 1001 used sarees collected by the artist from East and West Bengal, snakes through the columns and weaves together this borderless landscape. The work materially references navapatrika, colloquially known as কোলা&nbsp;বউ), a Hindu practice common in Bengal where plants are wrapped in sarees and worshiped as embodiments of the goddess. Here, the plants being venerated are Banana, Rice and Taro, all dependent on excessive rainfall for growth and essential to the diets and economies of Bangladesh and West Bengal. Taro is also central to the cuisine and mythology of Hawaii, the artist’s hometown. While jute is used commonly to swaddle massive concrete constructions across South Asia to assist in curing, in the installation jute has been draped as adorning garments on concrete pillars. The transformation of rigid architectural supports into supple caryatids of cloth and crop, breaks down binaries of strong and soft, functional and decorative, necessity and excess. <img width="3023" height="4031" width_o="3023" height_o="4031" data-src="https://freight.cargo.site/t/original/i/866f0af242c74443094903e28a24861b1ac02cf4520171353353daf620b1b237/4EDCBF1A-2C4C-4B87-8782-E80D53871023.jpg" data-mid="252239500" border="0" src="https://freight.cargo.site/w/1000/i/866f0af242c74443094903e28a24861b1ac02cf4520171353353daf620b1b237/4EDCBF1A-2C4C-4B87-8782-E80D53871023.jpg" /> <img width="3023" height="2745" width_o="3023" height_o="2745" data-src="https://freight.cargo.site/t/original/i/e61988255da44155f7a0ee8021604af9548a04b266118317b129e6655a57fcc3/IMG_5248.jpg" data-mid="250979678" border="0" src="https://freight.cargo.site/w/1000/i/e61988255da44155f7a0ee8021604af9548a04b266118317b129e6655a57fcc3/IMG_5248.jpg" />