{"id":611,"date":"2017-12-13T08:37:50","date_gmt":"2017-12-13T08:37:50","guid":{"rendered":"https:\/\/kyadava.net\/new\/index.php\/about-me\/"},"modified":"2026-09-22T17:20:36","modified_gmt":"2026-09-22T17:20:36","slug":"about-me","status":"publish","type":"page","link":"https:\/\/koshika.net\/index.php\/about-me\/","title":{"rendered":"About"},"content":{"rendered":"\n
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I am an immunologist by training and have spent most of my adult life in labs: at universities, in big pharma, and in a biotech startup. Each space came with its contradictions in values and practice. In academia, the pursuit of scientific truth and knowledge is coloured if not often completely dictated by what grant reviewers find enticing, what might publish in a high-impact paper. In industry it is the stakeholders, the market, the patentability . Creativity shackled by phantom figures with a capital K. <\/p>\n\n\n\n

Being in the lab gave me not only an incredible appreciation for the plurality of our existence, the complexities of our interactions within our bodies and the world beyond, but also an eagle-eyed view of the problems of reductionism in science. The latter became a springboard for my entanglements with art.<\/p>\n\n\n\n

I explore this passage through images, objects, and words. I keep returning to David Graeber’s notion of poetic technology, what a truly liberated imagination might bring into being, and Donna Haraway’s insistence that all science is made by someone, from somewhere, for someone. I am drawn to what technologies open up, the possibilities they make thinkable. But I am also wary, not just of how technologies are used, but of who makes them, and for what purpose. These questions run through everything I do, whether I am painting, building a speculative device, or trying to understand a biological system.<\/p>\n<\/div><\/div>\n\n\n\n