Aminder identifies as a crip, sick, neurodivergent, British Indian woman and multiple survivor.
Her work is lived experience-led, intersecting auto-ethnography, the sciences, bioinformatics, socio-politics, technology, physical computing, crip technoscience, critical disability design, feminism, philosophy and ethics. Her practice and activism is informed by her lived experiences of quintuple oppressions (racism, ableism, sexism and classism) and social injustices as an unheard and unrepresented voice within society. Her use of art form and medium is dictated by her life and is continually adapted to the progression of living with 16 health conditions. She uses hacking, both socio-politically and via technology, to making work about disabling barriers in society (including systemic, institutional, technological, communicative, physical, psychological, financial barriers and so on). Her work traverses modes of sculpture, new media, sound, audio-visual, installations, moving-image, technology/science/device hacking, immersive art, physical computing, socially engaged practices, performance and live art.
Aminder’s work subverts the societal and media-based representations of disability and Otherness to highlight, connect and bring the reality of the lived experience into the public sphere. As a result, her work breaches lines of identity, memory and personal archives, routines and rituals.
At times, Aminder’s works transform spaces into political sites of radical agency – breaking societal constructs, misconceptions, assumptions and forms of censorship around disability, race, mental illness, gender and sexuality, class, poverty, heritage and religion. Aminder contemplate’s to re-enact and re-construct narratives, stereotypes and imagery that disrupt the reality of these lived experience(s).