Alveera Rahman’s forked practice is as much about the everyday as is it about clothing.
The first (not primary) prong of Rahman’s practice can be seen as painterly; she uses fabric paints to transfer representative imagery onto saree fabric. The initial premise for her outcomes on sarees had to do with relating paintings made of India during the height of Empire to present-day Britain and Bangladesh. However, in the time leading up to the degree show, this strand of her practice has developed into a methodology of subverting racially coded representations using Google’s ‘image search’.
The second prong of Rahman’s practice can be interpreted as sculptural; she uses twine to trap fluffs of lint into brick-sized bundles. Her initial draw to dryer lint had come about as a result of its difficulty; it is a material that is at once put-together and on the brink of coming apart. The fleeting presence of dryer lint in our lives serves as the poetic underpinning for groping to keep dryer lint intact. Yet, the unusual manifestation of dryer lint in a gallery setting leaves room for more subjective connections to be made between the viewer and the work.