scapes, carefully delineated and re-envisioning the cycle of chaos and order as parabolic reflections of Fecundity and Clairvoyance, characterising an Arid land. Madhu Das's performative interventions Landscape of Confronted Abstraction, The Landscape that is Not Ours and Three views of Mapping Huge Cloud are works that oscillate between fact and fiction, dealing with the projection of identity onto the social and natural worlds, both of which are intertwined in the matrix of space. The performances seek to intervene in public spaces to build up a visual representation of 'the mysterious' and 'the ambiguous', to construct a mythical narrative around the characteristics of space. Artist Sitaram Swain re-characterises this definition of space synchronising the ethereal with the personal and material. Drawing from the irony of constant urbanisation and construction he incorporates the medium of cement into his practice so as to refurbish the fluid with the concrete. Recreating the sky as concrete blocks of grey with a window opening to the blue he reminds us that There was a Sky Before. In yet another work, Grey Area, is seen a graphic representation of the moonscape being inhabited with life along with its concrete urbanisation, as though the two are inseparable. The grey here is a metaphoric representation of uncertainty, anxiety and impermanence, conflicting with the very definition and existence of concrete constructions. Sujith SN through his miniaturised paper works titled Prelude represents an appalling reality of our delusional landscape with morphed horizons and smog scapes. The abstraction caused by an extreme urbanisation and unplanned industrial growth that has disrupted the troposphere making a haze of mirages. The human is seen as a witness to this prelude of an apocalyptic future clouded with uncertainty and unpredictability. Sneh Mehra portrays this same uncertainty through a series of works Dry August, Wet September etc. which illustrates the unpredictability and erratic growth and decay of the surrounding foliage. Through the canvases Growth of Plastic Flowers I & II, the artist has finely rendered the proliferation of the plastic inlayed within the foliage transforming the tree-scape into a synthetically mutated plastic-scape which is hazardous for our existence. Lakshman Rao Kotturu's sculptures present another dichotomy, of life's profundity along with its shallow reality caused due to treachery, betrayal, lies, helplessness and power play. An organised system that has seeped into our inner-scapes and have bound us in its complex structures and workings. Lakshman portrays these fluctuations using ordinary objects from his everyday life, like knives, scissors, hangars and food plates that forms a story as well as the body of an animal, re-creating fables and reviving the lost history of folk tales. The mettalized razor edged characteristics of the materials used are in stark contrast with the natural body-form of the animals, highlighting the disparate distance and deception between our co-existence. Suhasisni Kejriwal series of mixed media works establish a pedagogical processes that reflects the journey of a collective landscape impregnated with its local and regional offshoots. Her engagement with two prominent surreal streets Chitpur in Kolkata and Chorbazaar in Mumbai, result in a series of archival works combined with embroidery, paint and print, conceptually representing the complex cultural-scape of these hybrid streets. In the work Beadon Street, one metaphorically connects the dilapidated structures, Jatra 