while the images themselves are processed and mutilated in a variety of ways. All of which combine to create works that both participate intimately with the artist's mise en scene and comment upon the unique idiosyncrasies of his home. Degradation, bastardisation, the destruction and retrieval of culture and history became Kallat's subjects through the astute handling of both subject matter and technique." Kallat’s work has also developed in response to museum collections in the case of projects such as "Field Notes, (Tomorrow was here yesterday) (2011)" at the Dr Bhau Daji Lad Museum, Mumbai, for which he was shortlisted for The Skoda Prize in 2012, or "Circa," at the Ian Potter Museum in Melbourne. Both these projects had several of his recurring preoccupations find their form and structure in conversation with the museum viewed both as an infrastructure of signs but equally a field of stimuli and meaning. Often works which begin with a private narrative or an autobiographical impulse might be materialized in a form where the self remains invisible within the space of the artwork and could often be traced back by observing several bodies of work alongside each other. The theme of time, for instance, could be rendered as date in works such as Public Notice 3, where two historical moments are overlaid like a palimpsest or in works such as Epilogue, every moon that his father saw in his lifetime becomes a labyrinth of fullness and emptiness with the image of the moon morphing with the form of a meal. Kallat is known for working with a variety of media, including painting, large-scale sculpture installations, photography, and video art. He employs a bold and vivid visual language that references both Asian and European artistic traditions, along with popular advertising imagery that fuels urban consumerism. Kallat regularly exploits images and materials chanced upon around Mumbai's sprawling metropolis, affording his works an inherent spontaneity and a handcrafted aesthetic. He unites these various media through themes that endure within Kallat's work, such as the relationship between the individual and the masses. He references his own personal experiences and those of Mumbai's other inhabitants. His work speaks of both the self and the collective, fluctuating between intimacy and monumentality, and characterized by contrasting themes of pain, hope and survival. Kallat's paintings address the problem of painting in an age dominated by mass media, writes art dealer and collector, Amrita Jhaveri,