Papier-mâché, white clay, bamboo, iron rod structure, organic preservatives and resin
Trained in Varanasi, Baroda and London, there is hardly a medium that Latika Katt has not explored, choosing the material specifically for the subject she has in mind. Sati memorialises the horrific act of a woman being set alight on her husband’s funeral pyre; the last such act in India was that of Roop Kanwar’s in Rajasthan, who had immolated herself on her husband’s pyre on 4 September 1987. Katt planned this work in papier-mâché, adding seeds and plant fibre to the mix, and imbuing it with the colour of Manikarnika Ghat in Banaras, the most sacred cremation place for Hindus.
published references
Singh, Kishore, ed., Ways of Seeing: Women Artists | Women as Muse (New Delhi: DAG, 2021), p. 117
Latika Katt
Sati
1993
Papier-mâché, white clay, bamboo, iron rod structure, organic preservatives and resin
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Latika Katt
Sati
1993
Papier-mâché, white clay, bamboo, iron rod structure, organic preservatives and resin
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