A critique of the material culture of today is probably possible through art by using the very materials which have become as things in themselves or become meanings in themselves. My art practice basically revolves around understanding the materiality of the medium I am handling. First of all, trained in an art institute, I had always found a sense of incompleteness and loss at the art practice particularly the conventional mediums and forms of expressions. I could never identify myself or position myself within the tradition of these practices and always found myself and what I want to express not possible through these mediums. So I had been always trying to figure out mediums and expressions which were in a way anti or against the modes of representation which are handed over as convention etc. For me, rebellion was natural as I couldn’t identify with the tools and materials of the art education itself. Hailing from the industrial town of Ankleshwar and being an internally displaced migrant family, the means of sustenance and the conditions of my sustenance never ever allowed to partake in the removed and alienated processes of these elite art practices. I had always found a lack in the conventional modes of representation, which might be figurative or abstraction. Also since childhood, I couldn’t find interest in history as it never had any sort of representation of my community or where I belong. So within art education too when I found out that even the tools and materials of practices were elitist and alienated, my practice organically shifted towards mediums where I could find comfort with and found a nearness and sense of belonging. The industrial materials like industrials paints etc. were more affordable and easily available for me. Also, that is what I have been seeing all around me right from childhood. So I started using all these materials and started articulating my point of view which was also a sort of rebellion to the conventional art practices. I started to use these industrial paints by pouring them directly on the surface of the canvas or paper. This very act was a sort of a critique of the modes of representational language. The act of pouring undoes the way an image is created on the surface of the painting. Pouring paint directly without any intervention of labour also cuts out the subjective process which goes through while the process of painting happens. The value attached to the modernist processes of making the painting is cut. The act of pouring also is an act of negation of the image that represents something else outside the painting. In my work, it’s the paint that is visible. But the forms and images which happen due to the flow of the paint on to the surface though creates a visuality it’s unlike the other processes of painting where there is something relatively intentional, preplanned or even spontaneous. For me the controlled spontaneity of pouring the paint is all that is the process. The remaining effects, affect and results are at the mercy of the external forces like wind, temperature, gravity, surface, viscosity etc. which are purely resultant physical properties and not of subjective experiences. The attempt is to work towards a new representational language which is self-reflexive and which could articulate without mediations from the established jargons and oppressive frameworks of representations of exclusiveness.