Science, technology and art come together in Rohini Devasher’s work which is communicated through drawing, digital prints and video. a selection of three videos from a larger body of work entitled ‘Ghosts in the Machine’ is constructed of 165 individual layers of images that emerge from video feedback that is created by pointing a dV camera at its own output relayed on a television screen. the visuals thus formed are fantastical, mimicking plant and bacterial forms, tree structures and fractal snowflakes- all swirling in an eerie eternity like ghosts in a machine. in three videos the viewer sees (as Rohini writes), “a slowly evolving composite form that increases in morphological complexity, offering insights into the intricacy lurking within nature’s processes”.

Devasher’s fascination with the processes of the natural world and the possibilities contained therein continue in three digital prints of composite fantastical plant/ animal forms. She explains that her intention is to “draw upon the potential of contemporary botanical science to create images that lie somewhere between science and symbolism.” Microscopic images of bacteria, plants and animals, mechanical objects such as tubes, close-ups of flesh etc are manipulated to create fantastical creatures that seem to pulsate with primordial life. Eye/ mouth like apertures look out at the viewer who undergoes a paradigm shift from a tangible reality to a psychological futuristic space. “in the scientific realm, as the rate of genetic modification accelerates, and plants are modified with plant, animal and human genes, the boundary of form and function blurs and these strange hybrid organics become more of a possibility of what could be.” (devasher) a mammoth drawing created over six days on a wall in the gallery space continues this thematic. the immediacy of the medium communicates the ‘touch’ of the artist and the aura of the art work; this is enhanced by the debris of the art material on the floor below the drawing.