Post-Digital
HAND ABSTRACTION
Harmeet Singh’s work occupies a rare place in contemporary abstraction: a post-digital hand practice. At a moment when structural repetition is commonly produced through digital plotting, vector systems, and mechanical precision, Singh returns to the body as the primary instrument. His modular arcs and serial marks are built entirely through hand-drawn repetition, creating patterns that feel both architectural and alive. The work resists the seamless perfection of digital aesthetics and instead embraces the delicate irregularity that only touch can generate. In Singh’s abstraction, the hand becomes a site of memory and resistance—a way of restoring slowness, intention, and human presence within a technologically accelerated visual culture.
My take
Every mark in my work is made entirely by hand. I do not use stencils, tools, digital aids, or mechanical guides. Each repeated stroke is a result of physical rhythm, breath, and the subtle instability of the human hand. Watercolour allows me to reveal both precision and surrender: the pigment pools, breaks, and dries according to its own temperament. The arcs and intervals evolve through touch, not calculation. Their irregularities are intentional—evidence of a lived moment. In a time of algorithmic patterns and machine-perfect repetition, my practice insists on slowness, on labour, and on the quiet beauty of human variance.
