sāgar’s work intends to disrupt and to question. through the radical acceptance of multiplicities, sāgar continues to defy linear constructions of time and binaries. he continually finds himself in moments of transition &now creates art moving between the performative/kinetic space of uncertainty. using humor and beauty, sāgar’s intention is to challenge &investigate the lasting impacts of colonization in relation to his own displacement as a brown body separated from his motherland.
sāgar's work draws from his identities to create worlds of joyous chaos–appropriating aspects of Indian folk, traditional, classical art &dance in contrast with his existence as a Western-based and brought-up artist.
additionally, sāgar is constantly reassessing his relationship with anger. now repurposing it as a tool for healing, self-defense, needed destruction, and most importantly as a method for finding joy. this has resulted in the creation of sāgar’s obsession with good demons–constructed from reinvented myths, mainly of Indian origin.
ananda–a prophesied state of bliss, is a constant setting for the work. these metaphorical landscapes/magical (un)realities serve as the utopian backgrounds crafted through paradoxical/cataclysmic/phenomenal/elemental events. sāgar’s relationship with nature &landscape is constantly evolving through the construction of personal symbols and personification/projection of self onto animals and objects. intentionally, these worlds are constructed as transitional spaces, hidden in glitches, containing moments of magic explored through the relationship between digital and physical interactions.
sāgar often works collaboratively. most notably with poet, Jacob Richards (a blue Body, consumed) and with his father, Ravindra Kamath through Pinaka Art. sāgar is currently pursuing his MFA in Interdisciplinary Art at the Maryland Institute College of Art, Mount Royal School.