|First Name and Last Name||
Chicago, Illinois, USA
Post-Minimalism, Installation Art
Pritika Chowdhry is an artist, curator, scholar, and educator. Born and brought up in India, Pritika is currently based in Chicago, IL, USA. Pritika has an MFA in Studio Art, and an MA in Visual Culture and Gender Studies, from the University of Wisconsin – Madison.
Pritika’s works are in public and private collections. She has shown her works nationally and internationally in group and solo exhibitions in the Weismann Museum in Minneapolis, Queens Museum in New York, the Hunterdon Museum in New Jersey, the Islip Art Museum in Long Island, Visual Arts Center of New Jersey, the DoVA Temporary in the University of Chicago, the Brodsky Center in Rutgers University, and the Cambridge Art Gallery in Massachusetts.
Pritika is the recipient of a Vilas International Travel Fellowship, an Edith and Sinaiko Frank Fellowship for a Woman in the Arts, a Wisconsin Arts Board grant, and a Minnesota State Arts Board grant.
Pritika has taught at Macalester College and College of Visual Arts, both in St. Paul, Minnesota. Published scholarship about
Pritika’s work has come out in peer-reviewed research publications and various exhibition catalogs.
Pritika has presented her studio research projects at various national conferences, such as the International Arts Symposium at NYU, The Contested Terrains of Globalization at UC-Irvine, and the South Asian Conference at UW-Madison. Prithika also participates in panels and gives lectures, and artist talks about her work by invitation.
I am a practitioner of counter-memory, and I create sculptural installations that are anti-memorials of traumatic historical events. Through my art projects, I present narratives that are elided from dominant cultural discourse to disrupt hegemonic collective memories.
I have founded the Partition Memorial Project and the Counter-memory Project. Transnational in scope comprises sculptural art installations that memorialize difficult memories from around the world, such as partitions of countries, civil and military wars, riots, border violence, genocides, and terrorist attacks.
My large-scale sculptures and site-sensitive installations reference the body to memorialize unbearable and difficult memories.
I seek to connect seemingly disparate geopolitical contexts because I believe that it is vital to bring bridges into being. Counter-memories of communities and nations provide the viscera with which I build these bridges in my work.
As an interdisciplinary artist, I migrate between fibers, latex, paper, clay, glass, metal, wood, poetry, and drawing. The maker in me enjoys the sensuality of different materials, and the scholar in me pursues the cultural references that different materials introduce into my work.