Memory is not understood as an act of recall, but as the underlying structure of existence within the practice of Nandita Mukherjee. At its most elemental level, everything is considered to be constituted through memory. The human body is approached as a site of accumulation, where evolutionary, genetic, and emotional imprints are carried, while a continuous exchange with the Earth is maintained. Within this continuum, the notion of a fixed, independent self is allowed to dissolve. This inquiry extends into the realm of the unconscious. Our behaviour is shaped by inherited, ancestral memory—patterns internalized and repeated without awareness. Here, consciousness is not central but partial, while deeper, latent structures continue to inform perception and action. Across drawing, painting, ink, and material experimentation, an investigation is undertaken by her into how memory inhabits form. The works are developed as layered fields in which time, gesture, and residue are brought into convergence. Each mark is treated not as representation, but as response—an accumulation of interactions, both visible and unseen. Within her practice, memory is approached as both embodied and material. It is not confined to the mind; rather, it is understood to be embedded within the body and inscribed onto objects. Surfaces that have been touched, used, and eroded over time are treated as active carriers of history, where traces are held and allowed to persist beyond their original context.