Sportsman’s Diorama. (2025)

The field of wildlife in India has a vast resource of colonial history embedded in it, which changed its natural development and left its mark on the conservational structure. Displacement of indigenous groups of people and using them as a tool for the imperial sport of hunting in their own forests occurred. Hunting as a sport existed much before British colonial involvement in India, but the idea of depleting nature’s resources and creating a disparity between the different communities of people based on class, religion, and gender created a rigid caste-based system just for their own benefit. The colonial presence in the past and its influences in the field of wildlife are explored in my body of work, Sportsman’s Diorama, through an interdisciplinary approach by working with personal archival documents, books, photographs, and artifacts from Shankarrao Krishnarao Chitnavis’s collection, which was involved in the legal sport of hunting during the post-colonial period. The archival photographs are colorized in a particular aspect based on the tiger’s eye color vision to create a temporal vision of a dead “trophy” visual concept. The body of work focuses on the relationship between imperial history and present conservation measures by exploring and photographically documenting one of the methods of hunting, which is to build a structure on a tree to have a high ground advantage over the animal, and that structure is called “Machan” (a Hindi word for a platform or scaffolding on a tree for hunting). This concept of “Machan” still exists, but the purpose has shifted from an animal hunting platform to a wildlife observation structure, which is used for conservation purposes (wildlife censuses). In addition to the photographic medium, my work also explores the intricacies of a sportsman’s experience during a hunting expedition through audio storytelling, capturing nature’s response in the presence of a predator and prey. Finally, Mrigesh’s work examines the colonial legacy in India’s wildlife conservation techniques, focusing on the past exploitation of the environment and indigenous communities for imperial sport. The project uses an interdisciplinary method that combines archival research, photography, and audio storytelling to chart the evolution of hunting tools, including the “Machan”, from instruments of power to platforms for conservation. The project highlights the intricate relationship between past imperialism and contemporary conservation efforts, providing a nuanced view of colonialism’s impact on India’s natural heritage.


Temporal Prespective of Trophy.


“Raw Materials”.


Personal Archival Photographs and Trophies.


Modern “Machan”.


Exhibited Work.

The work was exhibited in The Handbag Factory Gallery, Vauxhall, South London.

23/01/2025 – 03/02/2025