Sarasija’s practice stems from analogies derived from the organic world in relation to its cultural and political implications. In the process of research and interaction, her active archive of spaces and objects continues to grow and incorporate histories and presents, leading to questions and critiques of museumisation and the taming of the ‘other’. Part process, part performance and part-installation, how we as humans have attempted to understand and control what we deem as entities ‘other’ than us.
There exists an understanding that the point where the manmade and the natural meet is where true biodiversity lies; no longer in the depths of the ocean or in the untouched groves in the Amazon, instead at these points of mutual existence.
From old English volumes of The Herbal Historie of Plants to Indian religious texts, African and Celtic myths, catholic votives of Ex Voto, Imperial archives of the Indian Subcontinents flora and fauna and scientific hatcheries, Sarasija’s practice and research both continuedly straddle aesthetics and science.
Alternative knowledge – myths, origins, obscure traces and perhaps even lose ends are ‘systems’ that are deemed as non-scientific and often left out of its discourse; these alternative systems are of interest to sarasija and often act as points of departure within her process.