Project Overview
Erasure is built from cassette tapes recorded during a time when I was moving through the aftermath of a relationship — one that left behind a tangle of unsaid saids. Over the course of a year or more, I recorded fragments: voice notes, ambient soundscapes, quiet reflections. As the dust of that connection began to settle, these sounds layered, blurred, and distorted — just like memory does. Eventually, a decade later, I pulled the magnetic ribbons from the cassettes and began weaving them into a tapestry. What began as an attempt to speak became something else entirely — a letter that starts in language and ends in the noise of silence. A map of emotions that were once felt but could never be fully expressed. The process embraced erasure not as removal, but as a method of inscription — an act of drawing silence.
Expected Impact
Erasure seeks to create a profound sensory and emotional experience that invites reflection on absence, memory, and perception. By foregrounding what is unseen or unheard, the project challenges dominant narratives and ways of knowing, offering audiences a space to engage with silence, voids, and the ephemeral. I hope it prompts viewers to question what is often overlooked or intentionally obscured — whether in history, identity, or daily life. The work aims to foster a deeper awareness of how perception is constructed and how erasure, both subtle and systemic, operates in our environments. Through an immersive and affective approach, I want to inspire curiosity, contemplation, and dialogue around the politics of presence and disappearance, while opening up poetic and speculative ways of sensing the world. Ultimately, erasure is about making space for what has been lost or forgotten to re-emerge and be felt, however fleetingly.
Applicant Background
Farah Mulla is a multimedia artist based in Goa/Mumbai. Her background in science overlaps with her art practice that explores the perception of sound and its effects on human neurology and subjectivity. Often investigating different media, she uses the human voice, field recordings and other modes of inquiries to explore aspects of our listening experience and the invisible agency of sound via multiple modes of perception. Captivated by the intricate interplay of sensation and perception, Farah channels her explorations through sensorial interfaces, seeking to articulate the ineffable within our environments. Through her works, Farah invites viewers to immerse themselves in a sensory tapestry where the boundaries between self and surroundings blur, inviting contemplation on our intricate relationship with the world around us.