Fabricating monumental canvasses imaged in simulation of graffitied billboards and translating reproductions and iconographies sourced in the mass-visual media, Jitish Kallat's crowded textures and mobbed narratives testify to an ever-evolving, saturated urban experience. In an accelerated and prolific decade since his graduation from the J.J. School of Art, Kallat has developed a signature style (stamped with dated 'copyrights') executed variably in mixed-media paintings, photography, and sculptural installations. His work collectively narrates an unfiltered, roughly-hewn dialectic between individual and universal experiences in Mumbai, where he lives and works.

Kallat held his first solo exhibition, "P.T.O.," at Gallery Chemould in 1997, less than a year after his art school graduation. Drawing on elements of autobiography especially in initial exhibitions like "Apostrophe" in New Delhi, 1998, Kallat transformed self-portraiture and distorted pre-existing, recognizable photocopy and newsprint images into large-scale paintings in step with commercial media and the fast, abrasive physicality of changing Mumbai.

"Ibid," a 2001 exhibition at Gallery Chemould, expanded Kallat's visualization of personal, genealogical narrative in mixed media works like Maternamortal (Mom's Mom's Mom and Mom's Dad's Mom) and the experience of everyman in Ode to the Spinal Cord, a layered canvas that locates the local suburban train network as the backbone of Mumbai. By this time also, imprinting titles on his canvasses gave way to involved manipulations of text in select canvasses like Herbs in My Maternal Home, which provides the artist's family biodata. The incorporation of text and verbal narrative into Kallat's painted works complements his frequent, often parallel practice of critical writing on contemporary art.

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