Written On Words by Charnjeev Singh Kang

Artist in residence at Studio Wayne Mcgregor





Performance

Drawing

Architecture
& Systems Thinking

Film

Publication/
Exhibition/
Teaching

Email








Written on Words weaves together drawing, architecture, film, performance, writing, object design, creative robotics, and collaboration, in order to create work that is grounded in neurology, the nature of memory, literature, empire, love of the human form. —yet leave room for contradiction, uncertainty, and the unresolved . This websites serves as an archive blurring the lines between artistic process and outcome.

Studio based in London and Cheltenham Uk .

Performance :
Transformative/Anastomosing-architecture
















At its core, Anastomosing-architecture searches for stories within object design – as a driving force for disruption, transformation and speculation. 

Through the design of new interfaces, the development of new techniques for interpreting and mapping expressive gesture, and the application of these technologies to innovative compositions and experiences, this work seeks to challenge as a performance art, and to develop its transformative power as counterpoint to our everyday lives. Searching for new ways to live stories

New structures emerge, hold, and fall away in perpetuity. Borders and boundaries slip away, falling into surfaces of material and movement. Something new emerges, always.

Performance :
Transformative/Anastomosing-architecture

The Empty Chair (wip)

"The Empty Chair" explores how materials carry the weight of colonial transition and resistance. An orthogonal chair slowly collapses from rigid lines into oblique planes, embodying a shift from one cultural system into the next.

The work reflects my investigation into paper as revolutionary medium. During  Indian colonial rule, revolutionaries used cyclostyled sheets and pamphlets for underground communication, transforming official hierarchical discourse into something clandestine. They folded messages into hidden forms, communicated through coded systems, and used handmade papers that could destroy evidence. 

The collapsing chair mirrors this material rebellion—rigid forms cannot hold, and something fluid and adaptive emerges. Like oblique function's destabilization of architectural certainty, the work investigates how materials remember historical transitions, how making (or unmaking) becomes embodied knowledge about power and resistance.

My practice asks: how do materials carry revolutionary memory? How does collapse become historical testimony?

at once so mysterious and so real, has opened in me large wounds and also large flowing springs

Sculpting and testing the moment of awakening.

Testing mechanisms for the collapse.