The multi-media work called "The Glorious Hammer" employs a powerful visual composition and combines traditional paper cut motifs and virtual displays which signal rhetorical device from memory. The field shows a paper collage which houses at the fore a near constructivist replica of housing, in one spare frame, the image of a figure labours to clear debris or soil-it is unclear- from a horizon of collapsed buildings. The hammer represents one half of the symbols of Socialism, the sickle, constitutes the other. Labour and toil, progress and the creation of a society which would liberate agrarian populations from ignorance and poverty, the polemics of a nation in the throes of unprecedented change, both then and now. The obvious references make for a stark impact, what is inferred with the works realization seems to reach beyond the confines of declaration and proclamation. We observe spiral efforts of labour, contrastive medium merged to consolidate a statement which seems to place greater emphasis on futility than Utopian achievement. The past has been indelibly written, determined, and what follows after “The Glorious Hammer”? What shall be concrete and tangible in the proximate future? Are our endeavours to liberate ourselves absurd or shall they prove to be consummate with the passage of time and witness of history? "The Glorious Hammer" indicates the relevant nonsense of truth, actual or rhetorical, and wisely responds with a visual composition as a question alone in answer to our condition. [Rajath Suri]