In principle a work of art has always been reproducible. Man-made artifacts could always be imitated by men. Replicas were made by pupils in practice of their craft, by masters for diffusing their works, and, finally, by third parties in the pursuit of gain. Historically, it advanced intermittently and in leaps at long intervals, but with accelerated intensity.
The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition and the most important thing is that mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. Instead of being based on ritual, it begins to be based on another practice—politics. This is what Shivangi’s work wants to tell, In her screen-printing practice, Shivangi attempts to break out of certain conventions of screen-printing. In its totality, tension is created between the organically hand-drawn and mechanically produced states of making and experiencing the image, without losing the Aura.

Artist works available here.