At the crest of waves in a turbulent sea one could see boats being tossed up and down and in each boat there are tiny human figures almost resembling the short-lived moths of monsoon, rising up like foams, absolutely helpless in their movements. This is the story of the present times where global migration of dispossessed people has become a daily staple for the well settled and rooted. These boats partly submerged however struggle towards a lamp post, a metaphor of good hope, a sculptural stand in for a welcoming terra firma. But the precariousness is palpable for none including the artist/creator knows whether those hapless creatures in the boats would ever reach the destinations they always dream of.

KS Radhakrishnan, in his hall mark style uses the ascending ramp form as the metaphorical oceanic surface without its undulating waves. The flatness of glistening bronze tiles virtually creates an ensemble of waves and the half boats represent their rise and fall along the ebb and flow of the tumultuous waves. An artist who believes in the ultimate transcendence of human beings or their possibilities to do so, he has always brought the ramp structure to represent such sublimation. He often refers to the liminal position of the human beings from where they could rise up to their final deliverance. While it has a spiritual connotation in some of his sculptures in ‘Ephemera’ it emphasizes a material, social and political fact in the most subtle, lyrical and metaphorical way possible.