Within this exhibition, Nithiyendran extends his explorations of religious iconographies connected to his Sri Lankan ancestry by nodding self-consciously to the politics of self-representation. Related to this, he explores the motif of the mask within contemporary and historical contexts to consider how identities and figurative languages are uniquely formed. He references costume props, digital avatars, Sri Lankan Yakka masks and draws upon various mythologies that reference shape-shifting.

The central work of the exhibition is an iconic, magnum opus work named after the title of the show. This largescale, multi-part, hot-pink painted bronze figure stands eyes closed, deep in contemplation. Its facial features are arrestingly realistic (a cast of the artist’s face) in a room loaded with the artist’s signature expressionist visages. The arms are outstretched, and the figure is surrounded by a constellation of wall-mounted bronze masks that were originally made from cardboard.

There is also a cadavre exquis (exquisite corpse) sentiment reflected throughout the installation. Many of the sculptures are presented in modular form. Their faces and limbs are interchangeable.