To be between. The in-between is part of the artistic and cultural identities of Ruchi Anadkat. She practices dance and plastic art by questioning: how to produce plastic experience, through a performance, within an inhabited and imaginary architecture? And for what cultural exchanges and common places?.

Performance means, for her, the meeting of the consciousness of the body with the consciousness of space; and with this consciousness the possibility of creating volumes, planes, lines, extensions of movements. .

Since the birth of her daughter in duisla crse santaire, Ruchi Anadkat's relationship to her artistic practice has radically evolved. She became aware that her work was part of the movement of an eco-feminist thought (a concept developed since 1974 by the Indian Vandana Shiva and which has been emerging for a few years in France) questioning in a non-dualistic way the place of coros and of the woman in mordcasture This relationship to the world questions our relationship to duration. Ruchi /Anadkat develops protocols of inclusive actions, sometimes interactive and participatory. These actions are constructed from situated situations and contexts, mobilizing group energies. Ruchi Anadkat is particularly concerned with issues of access to a work and the temporality of its autonomy. .

From a visual point of view, Ruchi Anadkat develops a sculptural relationship to the body and its movement through - for example - constrained gestures in a worn body. This relationship is articulated between the construction of an image thought of as a drawing and an experience of space in volume. .

Ruchi Anadkat has recently produced and presented various objects such as an augmented reality application, situated collective micro-intervention actions, sculptural installations. Some creations are part of the research project entitled Geometry Performed, which deploys a fictional and spatial relationship to mathematicians.