These three pieces that forms the triptych is part of a personal project that I have been working on since the early 2000 collectively called ‘Cuckoonebulopolis’ – an Aristophanian (Birds) coinage – based on a rather loose notion of utopia.
Having said that, these works are not in any way meant as arguments against or in favour of the desire to imagine utopias. What interests me is not exactly what utopias have to offer as such as an alternative, but it’s rather basic or perhaps its default premise of being critical of the existent order. And I use this idea like a backdrop, a theatrical device, to sharpen the contours of my images whilst they are at play and to accentuate the tenor of whatever they address.

Initially, these set of works (Cuckoonebulopois) were meant only as a more or less light-hearted exploration, something humorous, and something that enables a play on the ironic possibilities of its corollary: the nebulous city of cuckoos. But
once I got into the vortex of things, it occurred to me that some of the themes and images that I’d been grappling with were in fact becoming quite complicated and demanded an approach that was altogether different, and which needed to be reorganised into different sections or chapters, according to the kind of imagery that they deal with.