With drawing as her medium, Vishwa Shroff uses architectural forms to uncover our relationship with space over a period of time. Usually, she uses her architectural drawings to explore the narrative potential of spaces and objects otherwise considered banal – inconspicuous corners, walls, and floors. Her work reaffirms that time does not stand still for architecture and the documentation of these structures become indicators of the lives lived within these spaces.

This work, Bari ma Babli serves as a compelling take-off point for a deeper contemplation on memory and our relationship with the outside world temporarily paused. A note from Vishwa on the work says:

Over the last 40 days, as I stand at my window gazing at others standing at theirs, I have a sound track playing in my head-

બારીમાં બબલી બેઠીતી, બેઠીતી. બેઠી બેઠી જોતીતી, જોતીતી. લઇ કેળુને ખાતીતી, ખાતીતી. છાપરે વાંદરો બેઠોતો, બેઠોતો.
(Bari ma Babli baithiti, baithiti, Baithiti, baithiti jotiti jotiti, Lai keda ne khatiti khatiti, Chapre vandro Baitho to, Baithoto)

- From Bari ma Babli, a nursery rhyme for babies

I have, since the Voyeur series (2014) and Postulating Premises (2015) considered windows as ambiguous boundaries that permit us to define our own insides and outsides or thresholds. In this time of self-isolation, such questioning has become more important to me than ever before, as the physical line of the window begins to define my frame and who or what might be looking back at me, is a narrative game made possible by the proximity of buildings. In 2014, I had found a few cut outs from Knitting Pattern Magazines in Tokyo and have been collecting them since. I use them here with humour, making light hearted fiction of the who and what, while that soundtrack from a childhood school rhyme continues.