Anunaran Jargalsaikhan’s practice is rooted in ancient stories from her Mongolian heritage, spirituality, and traditions. Through performance, photography, printmaking, embroidery, installation, collage, and painting, she explores the fragile connections between nature and humanity, challenging conventional perceptions as a way of investigating dichotomies and universal dualisms: the space between worlds, the conscious and the subconscious, the physical and the metaphysical. This interest in the myriad aspects of existence was reflected in Anunaran J’s exhibition “Inner Return to Innocence” at Hong Kong gallery 10 Chancery Lane in November.

As your mixed-media works are characterized by historical subject matter, I’m interested to know how you arrived at the decision to explore your own history as well as that of Mongolia.

In 2017, I gravitated from more personal, introspective themes toward subject matter inspired by historical and cultural elements. Around this time I traveled to northern Mongolia, specifically the Gobi Desert. The beautiful landscapes in this region inspired me as this is where the last remaining Tsaatan (“people with reindeer”) live. It was also here that I witnessed ethnic heritage displays at the local museums. These encounters made me feel connected to something from the past, and moved me to create mixed-media works inspired by Buddhist thangka painting and silkscreen techniques.