Hamlet Without The Prince, began with a set of four performance act images. The act was planned and staged within my studio with close contemporaries who documented and pasted fish scales on my face. The work interrogates physiognomy – the act of differentiating people based on their physical stature and outlook especially when regarded as indicative of character or ethnic origin.

The enquiries began from an autobiographical episode with an illness or rather a skin condition for which I received a fallacious treatment for over a decade. It was only during my internship under a dermatologist that I could unravel through an autopsy test about LPP – Lichen Planus Pigmentosus. The intention of this internship was to study the science of skin through my own body while observing various skin conditions. The acts question gaze; they ruminate on vulnerability of body and the emotion of shame and guilt through body anomaly. The work plays around the interpretations and conclusions and also attempts to question the notions and crises that gradually become synonymous to a person’s identity at large. E.g. “The girl with curly hair” or “The girl with that skin disease”?