In Germination, Puneet Kaushik continues to address the inherent quality of a 'being'. What makes it transform, transgress or disintegrate. His current suite of works are drawings in charcoal, ink and sequin dust as well as installations in mixed media - stainless steel, cotton and LED lights.

Puneet offers a 'presence' that surpasses its original i.e the object that produced it in the first place. The expected view and the specificity of the object, the gravity and solidity of a three dimensional space, are negated and negotiated but never guaranteed. What is left is this 'presence' in the making; not a metaphysical one but that which raises questions about such a duality.

He doesn't make up an 'apparatus' (to construe art) like say a wire, a corset, a transparent wire of light or even a crayon (and more), though these are inevitable part and parcel and media-varieties inlaid into his works. They are configured together-that definitely evoke an awe and regard for the craftsmanship, the smartness in handling various materials and their intensely rendered configuration, though--to create an apparatus whose primary nature is a set of acts in creating (a) a certain ambiguity and (b) willful refusal to culminate at/as a object for representation.

His apparatus, no matter how sophisticated and unpredictable it might appear to the eye, is a primordial aspect of visual representation-the mutual play, interactivity and dependence between line and light. Though it seems absurd and abstract, the inseparable yet ambiguous combination of light and linearity is the formidable subject of his works.

Be it his installations or black and white drawings, there is a mutually interchangeable quality to them. While the former is a set of lines that have gone creatively astray by falling into an order, the latter is not only the basic ingredient but also an agent that, finally, refutes the sights focus upon itself. This could be explained differently: In this show there are no objects that are yet to occur.

In summary, Puneet Kaushik's installations redefine the white cube in terms of a single equation that he draws from the dichotomy of linearity-light syntax. The surface, the shadow and textures of all the objects he has used, in totality, first of all, ambiguously diminish the mass-volumetric-like material reality of the objects he produces. Even the resultant objects, thus produced, forms deviant, simulated identities: they are not the sum total of the materials they are made up of, some are almost invisible but not invincible. Objects, in this show, evoke that which they are not made up of or for.