Rashmi Sathe

On the edge of the Threshold

The project examines the eternal notion of the inbetween and our altering perceptions. It encompasses a personal collection in a digital and a physical format of the liminal, inbetween moments, objects, impressions and experiences.

Critical Image Practices (CIP)
This project is dedicated to my husband Tushar Chavan and my friend Jacqueline Egger. I would like to thank all those who have supported me in this journey of writing my Master Thesis. I would like to thank my mother Arati Sathe for her consistent support and our conversations pertaining to the in-between.I would like to thank and acknowledge the indispensable help given to me by my mentors Prof. Maria Josefa Lichtsteiner , Varsha Nair and Dr. Prof. Rachel Mader. I would like to thank Prof. Dr. Sabine Gebhardt Fink for her unconditional support. I would like to thank Lena Eriksson and Klodin Erb for their invaluable feedback and support and TwoTrees for inspiring conversations and guidance. I would like to thank Thomas Gassmann for helping me with sound editing. Thank you Katherine Stoney, Chantal Kaufmann, Susan Kasiala and Luzi Lambertucci for being a part of Fleeting Inferences.


This artistic project in collaboration with Jacqueline Egger aims at unraveling and exploring the concept of the in-between by examining and analyzing our transforming perceptions, as constantly evolving in the form of languages, actions, gestures and movements. Jacqueline is visually impaired and lost her eyesight sixteen years ago. Unlike me she perceives the world based on her sense of smell, hearing and intuition. Her perception is perpetually oscillating in-between her memories where she could see and her present where she perceives without it. The project has evolved into a series of drawings, stencils performances and videos. Fleeting Inferences is a digital collection encompassing the liminal, in-between moments, objects, notions and experiences. It primarily comprises of the documentation of my interactions with Jacqueline Egger with an emphasis on the process rather than the final product. The film is a fragmented assemblage of our drawings, performances, trails, stencils, images and audio clips. It tries to encapsulate our notions of the in-between with and without the sense of sight, in-between control and giving up control, in-between India and Switzerland. It is an allegory open to interpretations and reinterpretations to reveal multilayered inferences.

One of the ways of exploring this diversity and flux was dancing the tango. We dipped our feet in colours and danced the tango. Our tango culminated into a virtual map of our footsteps. When we would explore new terrains, I would take the lead to perceive the space available. But with the tango Jacqueline was leading me. Is this change in roles a binary concept? While dancing the tango did I completely let her lead me? Was she giving up control when I would lead her? Or was the control shifting, hanging, in a constant flux, always in-between?

By crossing our personal thresholds we have created a new threshold, an ambiguous and an in-between space to discover our art.