Curatorial Rationale

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My work explores the complexities of dual identity through the lens of my lived experience as a Nepali-American. Straddling two cultures has often left me in a space of in-betweenness—never quite belonging to one or the other, always being told I wasn’t fully that. Yet, over time, I have learned to embrace the fluidity of my identity. I am a little bit American, a little bit Nepalese, and unapologetically both.

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This body of work reflects not only my personal journey of self-acceptance but also a critical engagement with the sociopolitical realities of both nations. To truly embrace a culture is to acknowledge its beauty alongside its flaws. My work addresses the injustices that persist across both Nepal and the United States—racism, colorism, homophobia, xenophobia, and discrimination against marginalized communities. These issues transcend borders, and my art serves as a dialogue between these two cultural landscapes, exposing their tensions and intersections.

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At the heart of this exhibition is Strings Attached, a large-scale, interactive 3D installation that encapsulates the core themes of my work. The piece depicts two silhouetted figures, each representing a country, tethered by strings that stretch across an expanse of space. The installation’s physicality reinforces the feeling of separation—though connected, the two figures remain distanced, mirroring the push and pull I experience between my Nepalese and American identities. The strings, longer and more pronounced than the silhouettes themselves, emphasize the tension of navigating two cultural worlds, while the headlines embedded in the piece confront the uncomfortable realities each nation attempts to overlook.

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Another focal point is the performance art piece, Chainge, which starkly illustrates the dual realities faced by young girls across these two cultures. The right foot, adorned with traditional red bridal designs, symbolizes child marriage—a practice that continues to bind many young girls in rural Nepal. A paauju, or Nepali bridal anklet, is attached to a chain, restricting movement, representing the oppressive weight of this tradition. In contrast, the left foot—clad in socks and saddle shoes—embodies education, a tool for liberation. In the performance, the artist kicks over a copper pot filled with rice, a ritual meant to welcome a Hindu bride into her marital home. But rather than the soft chime of a paauju, the space is filled with the jarring sound of rattling chains, inviting the viewers to question this moment of celebration.

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Throughout the exhibition, the theme of duality is reinforced through the use of diptychs—paired compositions that juxtapose elements of both American and Nepalese culture. Each piece serves as a conversation between past and present, tradition and modernity, oppression and resistance.

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This exhibition is not just a reflection of my journey but an invitation for viewers to consider their own cultural intersections, contradictions, and inheritances. In occupying this liminal space, I have come to understand that identity is not about choosing one side or the other—it is about embracing the beauty of both.

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Aama Chhori

Mixed Media on Paper

Diptych

81.3 cm x 50.8 cm / 2017

Cultural detachment is a struggle many immigrants, including myself, face—especially in the United States. This piece reflects the process of overcoming that struggle and serves as an empowering statement for others like me.

The diptych features two portraits—one of me and one of my mother—hence the title Aama Chhori, meaning “Mother Daughter” in Nepali. It portrays two generations of Nepali-American women embracing their heritage through traditional clothing. Yarn, a material widely used in Nepali textiles, is incorporated into the work, emphasizing the deep-rooted connection to tradition. We see reflections of ourselves in one another—who we are, who we could be.

The theme of dichotomy, particularly between tradition and modernity, is evident in the technique. Rather than sewing the yarn onto the paper, I've glued it, subverting traditional craft methods and symbolizing the ways in which culture is adapted and redefined across generations.

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Strings Attached

Foam Board, Yarn, Paper, and Beads
Interactive 3D Installation

17.8 cm x 57.5 cm x 269 cm / 2018

This piece embodies the central themes of my work—my connection to both Nepal and the United States, the internal tug-of-war between their cultural values, and the flaws within each.

Two silhouettes stand in contrast, reinforcing my theme of duality. Behind them, exposed news headlines reveal the social injustices each country attempts to ignore—issues we keep sweeping under the rug. The woven beads symbolize individuals caught between these two cultures, representing the hyphen in Nepali-American.

As an interactive piece, viewers can adjust the beads, shifting them closer to the country they identify with more. Yet, this movement remains a constant struggle—no matter which side you lean toward, you must also grapple with its imperfections and injustices.

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‍Us

Acrylic on Canvas
Diptych

40.6 cm x 61 cm / 2017

This piece honors my dual identity—my birthplace, Nepal, and the country that has shaped my present, the United States.

One canvas features the sun from the Nepali flag, the other the moon. The composition incorporates stripes and rectangles—visual elements of the American flag—blended with shades of red, blue, and white drawn from both nations’ flags. These colors symbolize my identity as a Nepali-American.

The diptych format reinforces this duality. The title, Us, is a play on both “U.S.” (United States) and the idea of unity—two canvases forming a single piece, neither complete without the other.

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What Will People Say?

Pencil, Copic Markers, Watercolor, and Glitter on Bristol Paper

27.9 cm x 35.6 cm / 2018

Homophobia and colorism are social injustices that persist in both Nepal and the United States. In response, I created this pop art piece depicting a dark-skinned woman and a lighter-skinned woman kissing in traditional wedding attire—challenging both the rigid expectations of gender and the deeply ingrained biases surrounding skin color.

Nepali culture is highly society-oriented, often pressuring individuals to suppress their true selves out of fear of judgment. The title, What Will People Say?, directly mocks this mindset, confronting the fear of social scrutiny.

By using the pop art style, I intentionally blend American artistic influences with themes rooted in my Nepali heritage, further underscoring the juxtaposition of my two cultural identities.

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‍Chainge

Paint, Rice, Kalash (Copper Pot), Anklet, Chain, Saddle Shoes, White Socks
Performance Art

67.5 cm x 84 cm / 2018

This piece confronts the realities of child marriage, a practice still prevalent in rural Nepal, and the transformative power of education.

The right foot, painted with red designs traditionally worn by Hindu brides, represents child marriage and its restrictive nature. A paauju (traditional anklet) is chained, symbolizing the limitations imposed on young girls forced into marriage. The left foot, in socks and saddle shoes, represents education—a path to empowerment and autonomy.

The title, Chainge, plays on both “chains” and “change,” referencing the need for transformation. In the performance, the artist kicks a copper pot filled with rice—a ritual welcoming a new bride in Hindu culture. But instead of the soft chime of a paauju, the sound of rattling chains fills the space, turning a customary act of celebration into one of defiance.

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