The hands of the artists mother fill the frame of How to Peel a Pomegranate, working to extract pomegranate seeds. An accompanying voice over tells the viewer the best technique for extracting the seeds and that one pomegranate seed can cure one thousand illnesses.

This familial scene of knowledge being passed from one generation to the next highlights the artists interest in inherited knowledge surrounding health and medicine. The artist's practice speaks to the tensions between cultural traditions of care and western medical practices. Her work is particularly focused on how this plays out when living within a diasporic community.

Emulating a shrine, the work How to Peel a Pomegranate sits close to the floor, surrounded by garlands. As the viewer you must lower yourself to the delineated space in order to view it. This act from the viewer further enhances the questioning of western expectations. That there are many ways to view and to approach the gaining of wisdom.

'Kisan di Kirat, Kirat da suad' (the farmours labour, the taste of labour) forms as a diasporic response to India’s farmers protests that began at the start of the pandemic and re-ignited in 2024. In the recorded performance piece, Sehej revisits the familiar grounds of Parramatta Park, a place of passageway between childhood and adult worlds, where she first witnessed the grounds as a gathering place for brown families. 

Barefoot and cross-legged, the artist reflects the stance of the thousands of farmers who formed blockades on the streets before Delhi and participates in a stripped back and tedious process of chai preparation. As the familiarised gesture loses its domesticity, Sehej transforms acts of ritual and routine into one rooted in solidarity with her lineage of labour.