Daisy, Daisy was first shown as a site-specific collaborative installation in the tatami room at 1/2room during the SUPxNCUE residency, alongside sound artist Amit Sharma.

The installation consisted of ceramic piles of daisy petals, wooden stools, found objects, sound, and a microphone/sound system which responded to its environment. The responsive sound echoed a poem read in Hindi, sharing the story of a woman beginning to lose her memories and sense of identity through dementia.

Originally referencing the “he loves me, he loves me not” game, where someone plucks the petals from a daisy one by one, the ceramic pile sculptures look at both the experience of searching for love and the desire for it. Existing as accumulations or excess, the ceramic petals can be read as tragic — representing misfortune or repeated disappointment in love. At the same time, the continued act of plucking suggests perseverance; despite uncertainty or loss, there remains an optimism and persistence in the search for connection. Within the collaboration and the space, the work became something more. By emphasising the repetitive act of petal plucking, the installation opened up a space connected to unconscious thought, mental distance, and contemplation. The two wooden stools invited conversation and reflection, creating a quiet setting for encountering the poem. Together, the elements explored ideas of beauty, fragility, decay, and the fleeting experience of slowly losing one’s sense of self and identity.

The sound piece played a crucial role in shaping the atmosphere of the work. Spoken in the artist’s native language, the poem was transmitted through a responsive sound system that reacted to ambient noise within the gallery. The recording remained almost inaudible at low volume until sound in the room increased, causing the poem to emerge more forcefully into the space. This shifting relationship between audience presence and sound created a heightened sense of immersion and participation, making the installation feel psychologically and emotionally alive.

Now existing without sound, removed from its site-specific and collaborative setting, the ceramic work is displayed on a plinth. Viewed more directly as an object, the sculpture exists like a relic —capturing a moment in time, an action, and a memory.