Iranna’s choice of material for her sculptures was interesting because it suggested fragility, a quality we don’t associate with the building of gigantic edifices. The staple-works appeared delicate; adding to the appeal of what might otherwise have been representations of ghostly, abandoned structures. What was so unusual was that Iranna’s sculptures were made without altering her medium of choice – the staple pins looked like staple pins, yet they also looked like buildings.
For Iranna, using stacks of staples as building blocks was a meditative experience. Although she found their steely presence soothing, to viewers they appeared excessively sanitized. While her sculptures allude subtly to chaos – for instance, in the uneven surfaces of Converging/Segregating I and IV and the odd angles used to depict building blocks in Converging/Segregating – V – they did not capture the murderous world we live in. If art is meant to represent life, then Iranna’s show neither held up a mirror to it, nor offered a solution to its problems – it was too far removed from the realities of urban existence. Her artworks made for attractive conversation pieces but did not make a convincing artistic statement.