Sheela Gowda’s creations arrive from India to reshape the monumental spaces of the HangarBicocca - prints and water colours, installations and site specific sculptures fuse international trends with local artistic traditions, drawing visitors into the works through the manipulation of space. Gowda pulled off an aesthetic and political operation, her appearance on the art scene during the ‘80s and ‘90s coinciding with a whirlwind of violence and conservatism in her country. In the industrial spaces tagged by Pirelli, we see work created with tar bins, rubber, incense, manure bricks - which in India are used both for burning and building - even hair. The artist gather it up in religious sites where it has been offered by the faithful in pilgrimage, to then weave them into plots expressing the ritual, economic and quotidian value of such a human material. Installations comprised of blocks of granite used for grinding spices alternate with metallic structures simultaneously evoking European modernist painting and the harsh conditions on Indian building sites in this itinerary that represents 20 years of exploration. “The final nature of a work is forged by a process of abstraction,” explains the artist, “an abstraction which is not only a choice of style, but rather a means to communicate meaning and favour multiple interpretations.” Foremost are sentiments, affections, the relations between objects and materials that are reborn in the “moment of encounter” which is to be experienced as a sort of miracle.