The Art of the Senses and the Making of a Diasporan Aesthetics: Zarina Bhimji's 'She Loved to Breathe–Pure Silence', 1987-2002

This essay considers a single work in the collection, Zarina Bhimji's 'She Loved to Breathe–Pure Silence', reflecting on its past and its present. When installed, the work comprises 4 panels suspended over a carpet of spices scattered on the floor. When in storage, the four panels may be viewed on table stands. Three of the panels contained photographs laid on muslin, sandwiched between perspex. The fourth contains on one side a pair of surgical latex gloves laid on muslin, and on the other a reproduction of the artist's visa stamp. Each panel is bordered on one face at the top edge with red and blue dry transfer lettering. The essay considers the differences of perspective and perception between these two viewing conditions. The essay also considers how the material condition of the work has changed with the passing of time. The essay reflects the sensory impact of the work, its diaspora aesthetics and sense memories embedded in and conjured by it.

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