Mequitta Ahuja
Born:
1976 Grand Rapids, Michigan
Residences:
1976: Connecticut
1994: Massachusetts
1999: Chicago, Illinois
2006: Houston, Texas
2009-present: Harlem, New York
Education:
1998: BA, Hampshire College, Amherst, MA
2003: MFA, University of Illinois, Chicago
Selected Works:
Dancing on the Hide of Shere Khan, 2005. 12 x 12 in.
Automythography I, 2009. BravinLee Programs, New York.
Flowback, 2008. Lawndale Art Center, Houston, Texas.
Encounters, 2007. BravinLee Programs, New York.
Bibliography:
Handley, Meghan. Houston Public Radio: KUHF. “The Front Row.” Jan 6, 2009.
Britt, Douglas. Houston Chronicle. “Artwork is a reflection of its audience.” p. E2. Jan 8, 2009.
Marzio, Peter and Joseph Havel. Core Program 25th Anniversary retrospective catalog. 2008.
Cotter, Holland. “Last Chance.” The New York Times. June 1, 2007.
Hoban, Phoebe. “We’re Finally Infiltrating.” ArtNews. February, 2007.
Moyer, Carrie. “VIVA.” Modern Painters. March, 2007.
Biography:
Incorporating aspects of her African American and South Asian American heritage, as well as her position as a female in American society, Mequitta Ahuja’s artwork fuses elements of the past with the contemporary to present her unique worldview. Her self-portraits explore cultural landscapes and historical circumstances, addressing the constructs of gender, class, and ethnic identities.
Mequitta’s process is developed in three steps: performance, photography, and drawing. The materials employed for the drawing phase range from crayon to paint brush, and incorporate processes such as collage and printmaking techniques. In her “artist statement,” Mequitta states, “The resulting self-portraits embody a form of creative self-sufficiency.” Mequitta’s self-portraits are unique in that, although the artist uses images of herself in the work, she describes the final subject as an interchangeable “female protagonist,” who may or may not actually appear in the work, as her surrounding landscape is also the subject of the artworks.
1976 Grand Rapids, Michigan
Residences:
1976: Connecticut
1994: Massachusetts
1999: Chicago, Illinois
2006: Houston, Texas
2009-present: Harlem, New York
Education:
1998: BA, Hampshire College, Amherst, MA
2003: MFA, University of Illinois, Chicago
Selected Works:
Dancing on the Hide of Shere Khan, 2005. 12 x 12 in.
Automythography I, 2009. BravinLee Programs, New York.
Flowback, 2008. Lawndale Art Center, Houston, Texas.
Encounters, 2007. BravinLee Programs, New York.
Bibliography:
Handley, Meghan. Houston Public Radio: KUHF. “The Front Row.” Jan 6, 2009.
Britt, Douglas. Houston Chronicle. “Artwork is a reflection of its audience.” p. E2. Jan 8, 2009.
Marzio, Peter and Joseph Havel. Core Program 25th Anniversary retrospective catalog. 2008.
Cotter, Holland. “Last Chance.” The New York Times. June 1, 2007.
Hoban, Phoebe. “We’re Finally Infiltrating.” ArtNews. February, 2007.
Moyer, Carrie. “VIVA.” Modern Painters. March, 2007.
Biography:
Incorporating aspects of her African American and South Asian American heritage, as well as her position as a female in American society, Mequitta Ahuja’s artwork fuses elements of the past with the contemporary to present her unique worldview. Her self-portraits explore cultural landscapes and historical circumstances, addressing the constructs of gender, class, and ethnic identities.
Mequitta’s process is developed in three steps: performance, photography, and drawing. The materials employed for the drawing phase range from crayon to paint brush, and incorporate processes such as collage and printmaking techniques. In her “artist statement,” Mequitta states, “The resulting self-portraits embody a form of creative self-sufficiency.” Mequitta’s self-portraits are unique in that, although the artist uses images of herself in the work, she describes the final subject as an interchangeable “female protagonist,” who may or may not actually appear in the work, as her surrounding landscape is also the subject of the artworks.
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