Brooklyn

Savannah Kumarcivil rights lawyer and community artist

How long has it been since you’ve seen the moon, the sun, the sky?

from Counting the Skyless Days, 2021
Four black panels hung in the corner of a white room. White house shapes gather in the outer corners; the arcs of a panopticon sit where the panels meet.
6 × 9 feet

the margins come to center, or panopticism

2017. Oil and charcoal on wood, four panels.

When the four pieces of this work are laid flat on the ground (including the spaces in between), they form the size of the floor plan for the average solitary confinement cell. Nearly all solitary confinement cells are smaller than the size of a parking spot.

Two of the panels laid side by side: black fields, white houses at the outer edges, the panopticon's arcs where they meet.
Twenty-three small square canvases hung in a line around a gallery room, mostly dark, five white on the far wall.
23 hours

twenty three hours: a rotation

2017. Mixed media on canvas, 23 canvases, 4 × 4 in each.

As you rotate through the room looking at these canvases, you are the hands of a clock that are hidden from view of those in solitary. Time continues to pass, even when there is a limited sense of day or night, and the cycle continues indefinitely.

one week

how much water does it take to drown?

2017. Mason jars, water and fresh flowers.

This installation is left up for a week. During the week, the hues of the flowers bleed into the water, filling the surrounding water with redness.

Five mason jars of clear water and red flowers on a white shelf against a grey-green wall. The same jars later in the week, the water turned pink, orange and cloudy.
installeda week later

writing

2021
TIDES, SAADA

Counting the Skyless Days

Growing up as the child of immigrants, I always thought of the sky as my one lasting connection to my family overseas. Even when I couldn’t talk with my grandparents or cousins on the phone, I knew we were looking up at the same sky.

2021
TIDES, SAADA

Constructing an Archive and Deconstructing Carcerality

Courts usually don’t care about which spices are available to incarcerated people in commissary, whether they are allowed to talk in their Nani’s language on the phone, or what traditions they must reinvent.

archive

The Archive in an Envelope, my attempt to work around the existing limitations, contains snippets of the oral history interviews, photos of artifacts, historical articles, and other materials that can be sent to people behind bars upon request.

The stories I’ve had the privilege of documenting tell us about our collective past, but they also nudge us to reject the systems that box us in, and to reimagine a better, freer world.

  • 2020–21
    Archival Creators Fellowship, South Asian American Digital Archive: over 100 archival items
  • 2025
    An Archive Unbound, panel moderator, SAADA

about

Savannah Kumar is a civil rights lawyer and community artist. Most of Savannah’s work uses abstract forms to represent oppressive spaces, policies, and practices. Savannah’s work invites viewers to grapple with the spatial, temporal, and emotional elements of violence that are often hidden from view. She believes that art has the power to bring hidden structures out of the shadows and into the light for public scrutiny.

  • 2021
    The Margins Come to Center, solo exhibition, Prizer Arts Gallery, Austin
  • 2019
    Rapoport Center for Human Rights and Justice, conference materials
  • East Austin Studio Tour, Soma Vida Gallery; Due EAST; West Austin Studio Tour, VUKA’s Impact Hub Austin
  • Featured artist, Prison Abolition project, UT Law