Dessins et photogrammes de films et impressions au jet d’encre archivistique, 2026
Les 22 verges entre les lignes de craie sur le terrain. Une ligne délimite la frontière d’une nation, une autre délimite le territoire de son rival. Entre les deux, un no man’s land. De l’intérieur de leurs frontières, ils attaquent et contre-attaquent, en tentant d’annuler les efforts de l’autre. Ce qui pourrait ressembler à un champ de bataille est en fait une piste de criquet. Ou l’est-ce vraiment ?
Paras Vijan’s work begins as a reflection on contemporary society and its formation, and evolves through historical research to excavate the conflicts shaping our perspectives and counter-perspectives. His research starts from his own personal history, shaped by social, cultural, bureaucratic, and political systems, then extends outward. Working across photography, sculpture, drawing, and installation, he focuses on postcolonial South Asia, with particular attention to the Hinduization and saffronization of India. In his work, he examines orchestrated historical events and their lasting legacies, explores conflicts produced by shifts in time, technology, and political ideology, and offers a critique of the present political order. Vijan, through his work, aims to cultivate a healthy distrust toward images and messages that circulate freely and are consumed without resistance.
Vijan holds an MFA from Concordia University and has shown works in solo and group exhibitions at Gallery 44 and Pumice Raft (Toronto), Galerie Eli Kerr, Centre CLARK, and Leonard and Bina Ellen Art Gallery (Montréal).