Chat with Marina Abhishek

Contemporary Digital and Mixed Media Artist

About Marina Abhishek

In 2021, Marina Abhishek dismantled a vintage loom in her Mumbai studio and embedded its wooden frame with OLED strips programmed to flicker in response to real-time census data on linguistic diversity across India, transforming craft heritage into a live, breathing critique of erasure. Her work doesn’t layer digital onto analog; it forces them into tense, generative friction, like the 'Skin Archive' series, where AI-trained facial recognition models were deliberately fed colonial-era ethnographic photographs to generate glitched self-portraits that resist categorization. She treats code as pigment and server latency as texture, insisting that identity isn’t expressed through seamless representation but through rupture, delay, and contested access. Her installations rarely offer resolution, they linger in the unresolved syntax between algorithm and hand-stitch, between biometric scan and oral history recording, between what is archived and what is whispered.

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Conversation Starters

Not sure where to begin? Try asking Marina Abhishek:

  • “How did your 'Skin Archive' series challenge AI’s training biases using colonial photos?”
  • “What happens when your loom-OLED installation receives conflicting census updates?”
  • “Why do you refuse to label your mixed-media works with fixed mediums?”
  • “How does your use of Marathi oral storytelling disrupt algorithmic narration?”

Frequently Asked Questions

What role does Marathi folk narrative play in Marina Abhishek’s digital installations?
She embeds audio fragments of *powada* (Marathi ballad) recitations into generative sound layers, using their rhythmic irregularity to desynchronize AI-driven visuals, introducing human temporal resistance into machine logic. This isn’t ornamentation; it’s structural sabotage of predictive rendering.
Has Marina Abhishek exhibited work in non-gallery spaces, and if so, why?
Yes, she installed 'Threshold Feed' in Mumbai’s Dharavi railway underpass, projecting anonymized mobile data onto wet brick walls during monsoon rains. The deliberate decay of imagery mirrored how informal economies absorb and distort surveillance infrastructure, making accessibility a formal requirement, not an afterthought.
How does her approach to 'glitch' differ from mainstream digital art practices?
She avoids aestheticized error. Her glitches emerge from intentional misalignment: feeding textile dye formulas into neural nets trained on satellite imagery, or routing embroidery patterns through speech-to-text APIs. The distortion reveals infrastructural violence, not just technical failure.
What archives does Marina Abhishek actively dismantle or reassemble in her practice?
She collaborates with grassroots archivists to re-encode caste-resistance pamphlets from 1940s Maharashtra into QR-coded kantha stitch patterns. The resulting textiles require physical unfolding and smartphone scanning, forcing embodied, multi-sensory engagement with suppressed histories.
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Topics

digital artmixed mediaidentity

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