However it was enlightening to see his growth as a brilliant artist and the extent to which his personal philosophies, politics and ideas were so deeply and honestly entrenched in his work and life. Baij clearly 'lived' his ideals, spending a lot of time with the Santhals who were a prominent topic within his work.

Work by Prajakta Palav. It caught my eye because of the way she had used the gallery floor in her work. It is intelligent and relevant, especially in these old buildings in South Mumbai that are converted into gallery spaces.

His brilliant decorative pieces are brave statements in an art world that so easily dismisses anything that seems 'commercial' or market oriented.

These are photographs of the detailed murals that decorate the walls and windows of the Reclining Buddha temple. It exists in a much larger temple complex called the Wat Pho, which contains several hundred images of Buddha, many stupas, a huge Bodhi tree, stone statues and smaller temples.

With an unused underground car park as its gallery walls, Out of Sight investigates the resilience and flexibility of art, and the need for its development with supporting communities in unorthodox circumstances: an appreciation for the otherwise overlooked in the chosen location compliments the political provocation of the role of the outsider in society and rebellion against industry precepts.

In his essay In Praise of Shadows Japanese novelist Tanizaki writes about the conflict between western and eastern aesthetics in the modern world. He says that Japanese 'find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.' He emphasizes beauty in subtlety and that which cannot be seen too clearly, leaving some of the experience to our imagination. Pallasmaa talks of something similar when he emphasizes the importance and intimacy of darkness.

Cities like Mumbai and Beirut have developed in unstable uncertainty and in many ways are resilient survivors. They have adapted with 'redundant networks' and 'diversity and distribution' rather than 'centralized efficiency' which makes them flexible in the face of shocks to infrastructure (Lahoud, 2010).

I am especially interested in her attempts to express her own visions of a place or city, opposing the singular story people usually expect about India, that of 'sensational catastrophes and human failures'

This brilliant TED video by novelist Chimamanda Adichie articulates what I often have to say about Mumbai while here in UK. Namely, yes there is poverty and yes we have slums - but these are proud people who are more than just the anonymous poor.

Through collaboration the singular voice of the artist is muted or dispersed, it is a break away from a singular artistic identity. The author introduces the idea of a 'third hand,' or ghost artist which is an elusive other or combined identity created in collaborative works. This third independent existence is in itself 'uncanny' because such a constructed ghost identity 'blurs the distinction between the real and phantasmic.'

Shift the post-graduate show will be held at the Arts University College Bournemouth from 2nd to 9th September, open from 10am to 4:30pm daily. Entry is free. The show will be open for a late night viewing on the 8th (Thursday) and is closed on Sunday.

In his book Eyes of the Skin, Pallasmaa talks at great length about the beauty of human perception and how the senses interact with each other to form experience. He emphasizes the importance of a sense experience as a whole. He says there is a bias to the eye in the architectural practice because people are focussed on how a building looks rather than how a body can move within it or how it feels. When it comes to the perception of places he discusses the importance of emotion, memory, imagination and fantasy.