Amiya Ranjan Ojha’s practice centres around the lived experience of migration, displacement and belonging. Through his time at art school, the artist has been introduced to several methods of printmaking but it is his relationship with woodblock printing which shows a clear affinity towards the medium. Ojha comes from a family of wood workers, his father a carpenter and his grandfather a doll maker. The print-maker has a natural understanding of the material, his inherited craft is evident in the fine lines, texture and depth he is able to establish in his work. For this exhibition Ojha chooses primarily black and white works, the contrast is effective in emphasising the stark realities that face millions of migrant workers across the country. In Midnight, Ojha portrays himself along with roommates sleeping on storage racks in order to share the only available mosquito net in the dormitory at art school. His work depicts the stifling overcrowding of student dormitory life in which he finds resonances in the temporary dwellings of migrant workers. Although Amiya’s imagery draws from the varied and distinctly different urban landscapes; Baroda and Mumbai; the artist finds similarities in the way makeshift housing is built; from personal clothing and frayed cloth; and the coup-like conditions in which people live in. The artist finds echoes of this experience in the tightly packed temporary housing structures on his first visit to Mumbai. It is after this initial visit to the city of dreams, that the artist produces the work Endless Land but not mine, where he builds a surreal, seemingly post-apocalyptic landscape devoid of traces of the natural or the man-made worlds. Individuals occupy crater like spaces, involved in solo activity; all except two, who appear connected carving out a personal space to perhaps engage in an intimate conversation. Curiously, dry water taps appear out of the ground beside every crater suggestive of the looming crisis of clean drinking water facing both urban and rural India. A mountainous shape composed of densely packed homes leans precariously against an iron in Leaving, Non-Living. Tension envelopes this work as the iron is symbolic of the State. Just as iron irons out wrinkles, the State flattens urban and rural landscapes alike, bulldozers eating their way through mountains and flattening the landscape to create uniformity. After homes are demolished, the debris often containing personal belongings is collected and discarded. The land on which the settlements were, are sealed off by government authorities and communities are left dispossessed and landless. The artist portrays the sense of despair and helplessness that is a result of such an incident in the work The Sack. Ojha's growing artistic practice reflects the degrading economic conditions faced by a rapidly expanding section of society and their struggle to find a place in the country’s glossy growth story.