In Full View is a body of work that explores the quiet but radical act of stepping into visibility. The works move from background to foreground, from restraint to presence, asking what it means to occupy space fully, physically, emotionally, and culturally.

Composed of painted panels and suspended sculptural forms, the pieces hover between concealment and exposure. The forms emerge gently yet insistently, interrupting the surface rather than dominating it. Their placement suggests a moment of becoming: not arrival as spectacle, but presence as choice.

As an Indian-born Canadian artist, my relationship to visibility is shaped by migration, adaptation, and the long practice of negotiating space. Growing up and working across cultures, I learned how often the body is asked to soften itself, recede, or remain peripheral. In Full View responds to that inherited restraint. It is about allowing the self, particularly the immigrant body and voice, to move from the margins into the center without apology.

This series is influenced by the work of Sung Teak Lee, whose exploration of spatial tension and subtle displacement I encountered in New York City. That encounter affirmed my interest in restraint, suspension, and the emotional charge of quiet gestures. Rather than confrontation, these works propose presence through intimacy and insistence through stillness.

In Full View is not about visibility as performance. It is about being seen without translation—about claiming space while remaining tender, unresolved, and human.