Zainab AlShibani
About:
Shradha Devkota is a visual artist born and raised in Kathmandu, Nepal, currently based in Doha, Qatar.
Working across moving and still image, installation, performance, and sculpture, she approaches making as a way
of thinking. Through deconstructed images, tactile materials, self-portraiture, and archival traces, her practice
engages touch, resistance, and material experimentation. She holds an MA in Contemporary Photography:
Practices and Philosophies from Central Saint Martins, London.
Artist Statement:
My practice begins with the body; how it learns space, how it remembers, and how it resists leaving. Having moved through multiple homes during my childhood, I return to the idea of home as both refuge and restriction. I work across image, object, video, and gesture, tracing the tension between the body and the spaces it inhabits.
I am not interested in reconstructing the past, but in working through these materially, tracing how spaces continue to inhabit the body after access is lost. Drawing from lived experience, family histories, and fragments that shift between the imagined and the real, I keep returning to sites that feel both familiar and inaccessible.
At present, the gate has become central; a boundary, a threshold, something that exists only in relation to a body. I am interested in what it means for it to exist without one: a structure that anticipates movement, but is left without it.
Through deconstructed imagery, tactile materials, self-portraiture, and archival fragments, I approach making as a way of thinking through these tensions. The process is slow, repetitive, and materially driven—grounded in touch, resistance, and a need to stay with what does not easily resolve. Meaning is not fixed but emerges over time, through return, through holding, through staying.
Shradha Devkota is a visual artist born and raised in Kathmandu, Nepal, currently based in Doha, Qatar.
Working across moving and still image, installation, performance, and sculpture, she approaches making as a way
of thinking. Through deconstructed images, tactile materials, self-portraiture, and archival traces, her practice
engages touch, resistance, and material experimentation. She holds an MA in Contemporary Photography:
Practices and Philosophies from Central Saint Martins, London.
Artist Statement:
My practice begins with the body; how it learns space, how it remembers, and how it resists leaving. Having moved through multiple homes during my childhood, I return to the idea of home as both refuge and restriction. I work across image, object, video, and gesture, tracing the tension between the body and the spaces it inhabits.
I am not interested in reconstructing the past, but in working through these materially, tracing how spaces continue to inhabit the body after access is lost. Drawing from lived experience, family histories, and fragments that shift between the imagined and the real, I keep returning to sites that feel both familiar and inaccessible.
At present, the gate has become central; a boundary, a threshold, something that exists only in relation to a body. I am interested in what it means for it to exist without one: a structure that anticipates movement, but is left without it.
Through deconstructed imagery, tactile materials, self-portraiture, and archival fragments, I approach making as a way of thinking through these tensions. The process is slow, repetitive, and materially driven—grounded in touch, resistance, and a need to stay with what does not easily resolve. Meaning is not fixed but emerges over time, through return, through holding, through staying.