PERFORMANCEOfferings, 2024
Offerings, 2023
Offerings, 2022
ALAKKALA, 2019
H:O:M:E, 2018
Mokita, 2017
MOVING IMAGEUntitled 02, 2022
Untitled, 2022
INTERWORLD, 2021
smooth-time, 2020
Portal of Possibilities, 2020
A Utah Time Signature, 2019
Book of Dream, 2018
A Los Angeles Time Signature, 2018
An Arctic Time Signature, 2015
INSTALLATIONBurial, 2023
Murti, 2018
The Moving Image, 2017
PHOTOGRAPHYDiosma, 2020
Territory of Darkness, 2020
Werebodies, 2020
Pool Hall, 2017
Walking In My Shoes (Ondru), 2018
Yumarrala Ngulu (Ondru), 2018
They Are Climbing Mt Asgard, 2014
Discs, 2014
Distant, Relative, 2013
Voiceless Journeys (Ondru), 2012
Allery Exhibitions, 2008
DRAWINGS
Dry Yellow, 2020
Dry Red, 2020
Dry Blue, 2018-20
info@devikabilimoria.com
©2024 Devika Bilimoria Untitled (work in transience), 2022
HD Video, Colour, silent, 9’20’’
This work in transience/work in progress was presented as a large scale projection in ARTICUALTIONS curated by Priya Namana from the Centre For Projection Art in 2022, 11-12 March.
As part of Melbourne Fashion Festival's Independent Program, Centre for Projection Art are activating the public spaces around Collingwood Yards, showcasing video works by artists Amrita Hepi, Zoë Bastin and Devika Billimoria. Articulating notions of place, identity, archive and gesture held by the body, these lens-based works express their intentions through the language of movement and gesture.
To frame the presentation of these projection works was a panel in conversation unpacking the ideas, motivations and approaches within the shared language of their practices with Scotty So, Eugenia Lim and Jody Haines.
ARTICULATIONS II - Bodies carve out space, adapt to environmental conditions, and hold deep relational connections to landscape, cultural experiences and lived histories. Embodying, learning, and feeling, the body communicates these relations through perpetual movement and gesture. This talk will engage with the language and connections that a body as a medium forms and expresses through.
This video work is an exercise in temporal weaving, relational gestures and ephemeral elongation from site responsive choreographies recorded within a static frame. Practiced at Koonya Beach on Boon Wurrung Country in so-called Australia, this work emphasises the inextricable interconnectedness of earth and body whilst inciting troubles of territory, the 'human', migration, and identification through inverted forms. It belongs to a series of body/earth movement explorations of somatic listening and improvisational response, where I attempt to embody sites that I momentarily encounter to elongate my experience and understanding of that site and its materials. My digitally multiplied body amid temporalities of sandstone and sky evokes a charged nexus of body/earth, nature/culture and ingestion/projection, where a inversion elicits a tension in the notion of an edge. The choreography begins and ends with a short movement sequence that pays homage to the earth, known as Namaskaram, from my training in a South Indian dance form Bharatanatayam . Throughout, the body shifts between deep-time listening postures and improvised movement with sensorial attention.