In Jāḷī—Meshes of Resistance, 9 embroidered textiles bear pictures of ladies who gaze out on the viewer and each other. Particulars sing and delight: folded arms resting on a patchwork of flowers, a dupatta threaded with cyan and gold, droplet-sized mirrors reflecting mild. It’s by way of these lovingly sewn stitches that an unassuming white-walled room at Robert Mann Gallery turns into an intimate dwelling for an uncommon present.
New York-based artist Spandita Malik spent two years interviewing and photographing the ladies who seem within the exhibition, all survivors of home violence whom she met by way of nonprofits in North India. Every was photographed in her own residence — the identical area the place abuse persists and girls’s labor is usually devalued — however decided her personal pose and gaze in a reclamation of company.
Spandita Malik, “Zayada Bhegam” (2025), distinctive photographic switch print on khadi material, embroidery
After transferring the {photograph} onto a domestically sourced khadi textile, Malik returned the piece to the sitter, inviting her to embroider her picture nonetheless she happy and compensating her for her work. Some sewed over their faces or reduce them out completely, whereas others topped themselves in a maze of working stitches or adorned their bedspread with a subject of purple thread. Every artist additionally left traces of her hand within the type of faint fold traces and ink marks, tender residues of course of and human contact. By the tip of the exhibition, I remained satisfied that the gallery ought to have executed extra to emphasise that Jāḷī is a gaggle present, relatively than a solo one.
Towards the grain of a rustic and world that punishes and denies dignity to survivors, Malik’s present is greater than a mere embellishment or reclamation. Her invitation made approach for a collective transformation, one through which every artist restitches the material of home area within the picture of her interior world.
I traced this thread of resistance in three methods, whose stitches linger in my thoughts’s eye. I maintain occupied with the latticed home windows in “Jamila Bhegam” (2025), for one. Malik photographed Bhegam sitting on a plastic chair in an open-air area. She, in flip, prolonged the lattice sample from the window into the backdrop, embroidering a posh internet with herself entrance and middle — gaze direct and arms clasped in self-assurance. Jāḷī, which refers to each latticed screens discovered on home windows throughout South Asia and conventional mesh stitches, provides the present its identify.
Spandita Malik, “Jamila Bhegam” (2025), distinctive photographic switch print on khadi material, zardozi
Subsequent, Malik photographed “Farhana” (2023) in a dim hallway with inexperienced mild filtering by way of a window above. Farhana then locations herself on the middle of a shimmering golden mesh of traditional motifs utilizing metallic gota patti embroidery, usually reserved for formalwear. She tugs on the thread of South Asian textile artwork, of which ladies have been on the forefront, and asserts herself worthy of finery in her on a regular basis life.
And in “Heena” (2025), a lady stands beside pots and pans close to a brick wall. At her ft blooms a mattress of flowers with winking mirrors at their middle, a shisha embroidery method. But when we search for her face, we as a substitute discover our personal, mirrored again to us in one other mirror bordered with thread. Simply as Malik invited her, Heena invitations me — and also you — to search out glints of ourselves in these portraits of different individuals.
Element of Spandita Malik, “Farhana” (2023), photographic switch print on khadi material, zardozi and gota-patti embroidery and beadwork
Spandita Malik, “Heena” (2025), distinctive photographic switch print on khadi material, zardozi
Jāḷī—Meshes of Resistance continues at Robert Mann Gallery (508 West twenty sixth Road, Suite 9F, Chelsea, Manhattan) by appointment solely by way of June 28. The exhibition was organized by the gallery.
