In recent years, Kathmandu has witnessed some key urban transformations under Mayor Balen Shah. One of the most significant changes has been the removal of chaotic visual clutter in key areas such as New Road, where board holders, posters, and advertisements previously overwhelmed public spaces.

However, despite these infrastructural changes, another persistent issue remains: the entangled mass of electrical and communication wires that line the city’s streets. This ongoing challenge is at the heart of artist Sanish Kumar Shakya’s latest exhibition, ‘Entangled Circuits of the Streets’, at Chitra Art Space, Lazimpat. His work aligns with the vision of reclaiming urban order yet extends beyond infrastructure to provoke deeper reflections on how technology has entrapped both nature and humanity.

Shakya finds inspiration in the overlooked and neglected aspects of urban life. Born and raised in Patan, he has cultivated a unique artistic vision that merges environmental concerns with urban realities. His work primarily focuses on the tangled mess of electrical and communication wires that dominate Nepal’s streets, turning them into artistic mediums to tell more profound stories.

These wires, often dismissed as mere infrastructural elements, are reimagined in his installations as symbols of disorder, neglect, and environmental damage. Through his practice, he not only critiques urban decay but also prompts conversations about sustainable urban development. Shakya’s ability to blend artistic expression with social activism is noteworthy.

Upon entering the exhibition floor, the audience encounters five pieces in the first segment, starting with a poem titled ‘Where are we going?’ These works juxtapose past and present, depicting the world where nature once flourished but now coexists precariously with technology. Visitors are then confronted with the inescapable presence of tangled wires, looping across the floors and creeping up walls, challenging the traditional notions of artistic expression.

From a visual art student perspective, Shakya’s work resonated with many theories I’ve studied, such as the semiotic and phenomenological approaches to art. The tangled wires function as a signifier of entrapment, much like that of French essayist and Literary critic Roland Barthes’ concept of the ‘mythologies’ of modern life, where objects take on deeper cultural meanings beyond their practical use.

Additionally, Shakya’s use of non-traditional materials reflects the influence of Arte Povera, an Italian art movement that emphasised the use of everyday or discarded objects to critique industrialisation and consumerism. In the same way, Shakya transforms neglected urban materials into aesthetic and intellectual discourse, challenging viewers to reconsider their environment.

At its core, the exhibition poses urgent questions: How far have we come with technology? And at what cost? These questions linger as visitors walk through the space, confronted with pieces that demand contemplation and participation. The curator, Shanti Nepali emphasises that the works, though deeply conceptual, remain rooted in daily realities—things we see but seldom reflect upon.

A striking feature of the exhibition is the live painting created by the artist. Though it does not align precisely with the central theme, the artist chose to include it as a representation of the time and emotions leading up to the showcase. As I gazed upon the painting called ‘Nilbarahi Kantha’, I noticed its reflection in the window, creating an intriguing interplay between the artwork and the surrounding environment.

The artist’s reflective approach to creation is seen in his choice of the exhibition title, suggesting peace amidst the chaos of entanglement. The installation is designed not only as an art display but as an experience. Beyond traditional canvases, the artist incorporates crochet work and poetry to convey his message. The concept of ‘Gridlock Vision’ forms a recurring theme, a metaphor for the suffocating presence of wires that block out natural light, limit movement, and ultimately trap individuals in a technological loop.

This piece featured a traditional window tangled with wires, which visually embodies the tension between heritage and modern infrastructural chaos. Inspired by personal experiences, the artist recalls waking up to find his view of the outside world obstructed by chaotic tangles of electrical wires—an everyday sight in urban Nepal.

The poetry accompanying the pieces further deepens its impact. Written the night before the exhibition’s inauguration, the verses capture the existential musings at the heart of the project. The poem ‘Gridlock Vision’ describes how once-open spaces have become confined by technological growth, a “web of steel where dreams have fled.”

Similarly, ‘How Far?’ questions the rapid expansion of urban landscapes, asking whether progress at the cost of nature is truly progress at all. These poetic elements offer an additional dimension to the artist’s work, reinforcing the exhibition’s thematic weight.

Each piece within the exhibition tells a story, merging technological critique with elements of humour and introspection. The work titled ‘Crane’ plays with light and shadow, with a single leg of a crane transforming into two through its reflection, prompting viewers to reconsider perspective and perception, while its humorous subtitle, “A picture you paint while you are shitting,” disrupts the expected solemnity of conceptual art. Blending the mundane with the profound is a hallmark of the artist’s approach, making his themes accessible while maintaining depth.

Another notable piece, ‘Bird’s Eye View’, uses wires stretched between three corners to replicate how birds perceive the world below. It serves as both an aesthetic piece and an environmental commentary, highlighting the dangers of electrical wiring for urban wildlife. The presence of a bird’s nest within the installation adds an additional layer, symbolising nature's resilience despite human intervention.

An interactive element of the exhibition involves a sensor-activated sound installation that responds to visitor presence. As more people enter the space, the noise intensifies, reflecting the overwhelming nature of modern technological saturation. This was difficult to maintain daily so the installation of the projector was done only on the inauguration day.

One of the exhibition’s central ideas is the expansion of artistic boundaries. The curator recounts a conversation with a group of 12-year-old visitors who questioned whether black paper on a wall could be considered art. Their understanding of art as confined to traditional mediums like painting and drawing was challenged through this exhibition, reinforcing the importance of expanding artistic education.

This philosophy extends to the artist’s refusal to commercialise most of his work. Apart from a few miniature versions named ‘Entangled 1’ and ‘Entangled 2’ made at the last minute, none of the major pieces are for sale. The decision reinforces the exhibition’s intent: not to create commodities but to provoke thought.

More than just a collection of art pieces, ‘Entangled Circuits of the Streets’ is an experience that forces its audience to reflect on the realities of a technology-driven world. It is a radical departure from conventional art exhibitions, using unconventional materials and conceptual frameworks to challenge pre-existing notions of artistic value. Representing Nepal internationally in Germany, the artist has shown that art is not limited to aesthetics; it is also a tool for awareness, critique, and dialogue.

As I observed the exhibition, I was reminded of a question posed in my class: ‘Why do those who give us life not give us a reason to live?’ The existential themes embedded in this exhibition evoke similar reflections—perhaps art, like life, is not about offering answers but about prompting us to ask better questions.

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Entangled Circuits of The Streets

Where: Chitra Art Space, Lazimpat

When: Till 9 April

Time: 11:00 am to 7:00 pm

Entry: Free