N. S. Harsha, Reclaiming the Inner Space, 2017, aluminum composite panel mirror, aluminum, acrylic paint, carved teak wood elephants, found cartons, steel hooks, pellets. Installation view. Photo: Polly Thomas.

N. S. Harsha

Glynn Vivian Art Gallery

In the room-filling Sky Gazers, 2010, a mass of multicolored faces greeted us from the floor: those of a brown-bearded man, a lady in a burka, a redheaded boy, and a blonde woman. These upturned visages, painted onto the floor, were also reflected in a mirror that had been fitted into the ceiling over our heads. So, as I gazed up at them, I saw myself reflected in their midst. Who was the viewer and who the viewed? N. S. Harsha’s looking-glass world contains many such curious conundrums.

After all, the South Indian artist’s largest show in the UK to date was called “ᖷacing”—the reversed F of the title warning visitors not to take at face value anything in the paintings, sculptures, photographs, and painting installations that in whimsical ways overran Swansea’s flagship museum. Some works were tiny, sitting neatly on walls, even as they prompted celestial imaginings. For instance, in

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