Sachindranath Jha was born in 1975 at Madhubani in Bihar and studied at the College of Arts at Patna. He had the good fortune to grow up surrounded by the richness of Madhubani art. His works are based on the river Ganga and all that happens around the river, that includes the flowers, pujas and ceremonies. He loves to use vibrant colours like green, blue, violet and red. Though he started off as a painter and has worked for several years in this medium, he started to focus on sculpture from 2005 onwards and has created his unique space in this area. Sachindranath did many solo shows and participated in numerous group exhibitions and artists’ camps all over India and abroad. He did it Solo show in Charnamrit, Bihar Museum, Bihar 2022
 
Awards
 
1991, 92, 93 & 95 : Inter-College painting exhibition at PMCH, Patna  
1993, 94 : All India painting exhibition, Nagpur  
1994 : All India painting exhibition, Hydrebad  
1993, 94 & 96 : Annual Painting exhibition in college of arts and crafts, Patna  
1996 : East zone University Youth festival, Darbhanga (gold medal)  
1996 : Bihar state Shilpi Sangh painting exhibition, Patna  
 
Scholarship Awards

2002-03
: Lalit Kala Akademy National Research Grant Scholarship Award.  
Solo Shows

2000, 2001 : GANGA,Triveni Kala Sangam, New Delhi
2002 : Krishna Awatar at Nitanjali Art Gallery, New Delhi
2003 : Ganga Aarti at Nitanjali Art Gallery
2005 : Charnamrit at Visual Art Gallery, India Habitat Centre, New Delhi
2006 : Raas-lila at the Alliance Francaise de Delhi
2007 : Meghdoot, at Museum Gallery, Mumbai
2009 : Shakahari, at Nitanjali Art Gallery
2015 : Nandi, Fine Art Gallery, Mumbai
2022 : Charnamrit, Bihar Museum, Bihar
2023 : Panchamrit, Visual Art Gallery, IHC, New Delhi  

Sachindranath Jha was born in 1975 at Madhubani in Bihar and studied at the College of Arts at Patna. He had the good fortune to grow up surrounded by the richness of Madhubani art. His works are based on the river Ganga and all that happens around the river, that includes the flowers, pujas and ceremonies. He loves to use vibrant colours like green, blue, violet and red. Though he started off as a painter and has worked for several years in this medium, he started to focus on sculpture from 2005 onwards and has created his unique space in this area. Sachindranath did many solo shows and participated in numerous group exhibitions and artists’ camps all over India and abroad. He did it Solo show in Charnamrit, Bihar Museum, Bihar 2022
 
Awards
 
1991, 92, 93 & 95 : Inter-College painting exhibition at PMCH, Patna  
1993, 94 : All India painting exhibition, Nagpur  
1994 : All India painting exhibition, Hydrebad  
1993, 94 & 96 : Annual Painting exhibition in college of arts and crafts, Patna  
1996 : East zone University Youth festival, Darbhanga (gold medal)  
1996 : Bihar state Shilpi Sangh painting exhibition, Patna  
 
Scholarship Awards

2002-03
: Lalit Kala Akademy National Research Grant Scholarship Award.  
Solo Shows

2000, 2001 : GANGA,Triveni Kala Sangam, New Delhi
2002 : Krishna Awatar at Nitanjali Art Gallery, New Delhi
2003 : Ganga Aarti at Nitanjali Art Gallery
2005 : Charnamrit at Visual Art Gallery, India Habitat Centre, New Delhi
2006 : Raas-lila at the Alliance Francaise de Delhi
2007 : Meghdoot, at Museum Gallery, Mumbai
2009 : Shakahari, at Nitanjali Art Gallery
2015 : Nandi, Fine Art Gallery, Mumbai
2022 : Charnamrit, Bihar Museum, Bihar
2023 : Panchamrit, Visual Art Gallery, IHC, New Delhi  

From my earliest reminiscences of paddy cultivation in my family’s fields, where I fondly recalls the moment when I first held soil in my hands, I smiles ear-to-ear as I recollects, catching fish, only to release them back into the water, and running over to the ducks every morning, eager to see if any of the eggs had hatched. The existential experience underpins all of my paintings in a way that fragments of poignant and happy memories are sown together in a grander story of my childhood, bringing them alive into the daily joys of living and being part of this wondrous world.
Oftentimes, objects around me take back to childhood memories and my work becomes an amalgamation of my own childhood and that of the new generation as well. Thus there is a nostalgic element that links the immediate and present to the past through the works. Each painting becomes a living narrative of a new premise that has been built from the combined experiences of children and adolescents and my own lived experiences. Happiness is the thread that connects my works, experiences, memories and outlook.
Being born and brought up in a farming family, my childhood was witness to the importance of agriculture and fields, and to the birds singing the tunes that other creatures longed to hear. I spent my childhood listening to the sounds of cicadas, hens, ducks, the jungle babbler, peacocks, woodpeckers, cuckoos and catching fish in the stream. I'm keenly interested in spending time in the villages even when I live in the city. My paintings narrate these innocent experiences that combine with the most intimate memories of my own village, and some experiences which may or may not have been received from the village but were obtained from life in the city.
I give importance through painting to gestures that are not naturally present in the body, be it persons, birds, animals or even objects. Drawing is a key facet of all my work and whenever I come across characters that intrigue me, they manage to find a home in my paintings. Narration is also a subject of my paintings, mixing the stories told by my grandparents with the beauty of the surroundings that I'm experiences today.

From my earliest reminiscences of paddy cultivation in my family’s fields, where I fondly recalls the moment when I first held soil in my hands, I smiles ear-to-ear as I recollects, catching fish, only to release them back into the water, and running over to the ducks every morning, eager to see if any of the eggs had hatched. The existential experience underpins all of my paintings in a way that fragments of poignant and happy memories are sown together in a grander story of my childhood, bringing them alive into the daily joys of living and being part of this wondrous world.
Oftentimes, objects around me take back to childhood memories and my work becomes an amalgamation of my own childhood and that of the new generation as well. Thus there is a nostalgic element that links the immediate and present to the past through the works. Each painting becomes a living narrative of a new premise that has been built from the combined experiences of children and adolescents and my own lived experiences. Happiness is the thread that connects my works, experiences, memories and outlook.
Being born and brought up in a farming family, my childhood was witness to the importance of agriculture and fields, and to the birds singing the tunes that other creatures longed to hear. I spent my childhood listening to the sounds of cicadas, hens, ducks, the jungle babbler, peacocks, woodpeckers, cuckoos and catching fish in the stream. I'm keenly interested in spending time in the villages even when I live in the city. My paintings narrate these innocent experiences that combine with the most intimate memories of my own village, and some experiences which may or may not have been received from the village but were obtained from life in the city.
I give importance through painting to gestures that are not naturally present in the body, be it persons, birds, animals or even objects. Drawing is a key facet of all my work and whenever I come across characters that intrigue me, they manage to find a home in my paintings. Narration is also a subject of my paintings, mixing the stories told by my grandparents with the beauty of the surroundings that I'm experiences today.

These works have emerged from the continuous visual rehearsals from my daily life. Engaging with art as a daily part of life is essential for my well-being amidst the overwhelming pace of digital and physical connectivity, social complexities, and political implications. This exploration allows me to question, inquire, and find a sense of connection to my existence, finding profound meaning in the mundane.
Observing my surroundings, I am drawn to visual stimuli and forms that I process and structure. These structures become a personal sanctuary where I compartmentalize my interactions and conversations, using geometrical lines, underwater scenes, windows, flower vases, trees, and light as my vocabulary. Through this structuring, I develop my own artistic language and identity, ideating from daily observations.
Patterns and arrangements in settings like provision stores, weaving, buildings, old city flags, and shadows create a unique formal layering that I extract for my compositions. These images possess a sense of movement, despite the stillness of the objects themselves; it is my perspective that imbues them with dynamism. This process of capturing and recording through photography and sketching allows me to preserve these fleeting moments for future exploration."

My name is Krisha Bhuva(from Gujarat). I'm currently in the first year of my Master's degree in Visual Arts at the Faculty of Fine Arts, MSU Baroda, where I also completed my Bachelor's degree.

My work focuses on experimenting with fine lines and delicate flat tones, inspired by elements from my personal and immediate surroundings. I often depict self­ portraits, my friends, birds, and other natural motifs, creating dreamlike and imaginative spaces for viewers to explore. My use of patterns, soft tonal ranges,and flattened compositions reflects Indian miniature and Eastern artistic traditions, particularly those of China and Japan. I also experiment with different scales and surfaces, working on wasli sheets, raw silk, and other clothes to add depth and texture to the work.

For the theme "Blue Horizon", I explored the significance of the color blue, which symbolizes vastness, infinity, and purity. In this work, I painted my friend in various narratives alongside her own self, showing her interactions with the space around her and the emotions she experiences. The artwork captures her imagination and thoughts, portraying moments of waiting, reflection, and connection. The blue tones in the painting emphasize the purity of these moments and suggest an unconventional inner dialogue she has with herself.
Through this series, I aim to evoke positivity and introspection in the viewer 's mind. By connecting with themes of imagination and personal reflection, the audience is invited to embark on their own journey of self-discovery, mirroring the emotional depth and quiet contemplation expressed in my paintings.

As I was born in the urban industrial area of Howrah, I see and experience daily struggles of common people. So, my art practice reflects my
home, society and my surrounding .
Howrah, West Bengal, a place locally known as the ‘Sheffield of the East,’. I depict the iron industry and the larger industrial landscape with local
human figures that characterizes my hometown. In my art, I vividly portray life within these industrial areas in a surreal style, where objects take
on metaphorical roles, reflecting the socio-cultural fabric of Howrah. For instance, I magnify everyday items and some of organic objects like
mosquito nets, bricks, nest, natural scrubbers or the ubiquitous large bags used for shopping and other daily activities. These objects assume
larger-than-life proportions, and even human figures find their way into my artwork. Through my pieces, I highlight how the beauty of nature is
gradually fading away. My incorporation of materials directly sourced from my hometown such as the dust iron and soil of Howrah, enhances my
visual language and connects my work to the essence of my roots. Retaining a palette that resonates with rust and earth tones.

I try to look Through my Paintings to see refuge from the chaos of modern life, a gateway
to the serenity of the countryside. I invite viewers to leave behind the frenzy of urban
civilization and indulge in the peacefulness of nature. Through a blend of contemporary
art styles and traditional techniques, I showcase the beauty and charm of my homeland.
Vibrant images, born from the harmony of primary colors, come alive in the eyes of the
observer. They convey my concerns about our rapidly changing world and the cultural
heritage we risk losing. In an era where individuals are beset by problems and mechanical
thoughts, my art seeks to bridge the gap between urbanization and nature.
I transport viewers to unspoiled landscapes that nourish the soul, reminding us of the
simple joys of a bygone era. By capturing the fading beauty of rural landscapes and
vanishing village life, I transform them into enduring works of art. My creations resonate
with kindred spirits, inspiring a deeper appreciation for the beauty and traditions we
often overlook.
Through my art, I striveto quietly plant seeds of peace and hope. I believe that in a world
beset by turmoil, art can be a balm for the soul. My paintings are a reminder that beauty
still exists, that nature still has the power to inspire and heal us.
In a time when people are busy and worried, my art offers a calm escape. It invites
viewers to slow down, to appreciate the beauty in the everyday, and to find solace in the
natural world. I hope that my creations will inspire others to cherish the simple things, to
appreciate the beauty of nature, and to find peace in a chaotic world.

My work is rooted in close observations of everyday life, with a focus on human sentiments, routines, and the subtleties of the common man’s experience. I am deeply interested in the nuances of human behavior—small gestures, fleeting emotions, and the mundane moments that often go unnoticed. For me, these observations form the core of my practice, allowing me to explore and express the complexity of human emotions through figurative narratives.
I often find myself drawn to the ordinary, capturing moments that reflect the quiet yet profound aspects of life. My compositions frequently include human figures, either as representations of myself or as stand-ins for anyone who simply desires to live. In my compositions, human emotions become the foundation, often obscured or juxtaposed with other elements. I combine these emotions with anecdotes of mysterious evocations, figurative gestures, and strange experiences that reflect the complexities of life.
The process of my work begins with drawings in my sketchbook. I draw inspiration from various sources, including conversations with random people, personal memories, photographs, and everyday experiences. I often sketch simple images multiple times using different mediums, exploring how variations in color and drawing marks can evoke different emotions. My palette includes sentimental pastels, vibrant colors, shades of green, and stark reds, all carefully chosen to express my ideas in a way that shapes the final image. My choice of medium varies, ranging from printmaking techniques like viscosity, woodcut, etching, and lithography, to oil paintings and graphite drawings.
I like to play with the boundary between reality and fantasy, often incorporating surreal or dreamlike qualities into my work. I am fascinated by how the past overlaps with the present and how memories can shape our perception of reality. In my work, I create spaces where these elements coexist, blending the real and the imagined in a way that feels both familiar and otherworldly. This approach allows me to reflect on the absurdities I observe in life, turning them into visual narratives that explore the depth of human experience.
At the core of my practice is a deep exploration of human emotions, drawing from both personal and collective experiences. I aim to capture moments that resonate on an emotional level, making the viewer pause and reflect. Whether it’s a scene inspired by the vibrant yet contrasting elements of a dream, a poignant story shared by someone I met, or a quiet moment from everyday life, my work strives to evoke a sense of connection and understanding. Through my art, I seek to navigate the intricate dance between what is seen and what is felt, revealing the layers of human experience in ways that are both genuine and deeply personal.

Eminent artist, art teacher, designer, writer and philosopher of art, Kalpathi Ganpathi “KG” Subramanyan, also called Manida, is a major presence on the Indian art scene. Born in 1924 into a Tamil Brahmin family at Kuthuparambu in north Kerala. His father, Ganapati Iyer was a surveyor in the revenue department and like many others of his community he was a connoisseur of Carnatic music. He took young Subramanyan to concerts, and at one point he even hoped that his son would become a musician. His mother, Alamellu, was also fond of the performing arts and would often be accompanied by Subramanyan to the performances of harikatha singers and the plays of itinerant theatre groups. As a child, Subramanyan was irresistibly drawn to art objects and events without knowing them to be such. “I saw the painting and sculpture in the temples, temple chariots or houses with great relish; I marveled at the spectacular rigs of ritual dancers, and the painting and paraphernalia of ritual worship.” Some of them like the painted reliefs of the local temple were a part of his everyday environment. These inspired him to try his hand at painting, make small laterite carvings and indulge in other artistic activities, without harbouring any ambition of becoming professional artist. But they did make a deep impression on him.
Subramanyan has grown to be an artist whose perspectives on art and life carry resonances of an early engagement with the nationalist movement in which Gandhi and Rabindranath loomed large. As an artistteacher closely associated with the art colleges at Baroda and Santiniketan and as a designer-consultant associated for long years with the Handloom Board and the World Crafts Council, he has had shipping influence on art and design practice in India. With his myriad interests and varied oeuvre, he is an artist who carries forward the encyclopedic vision and legacy of his mentors into the present. Subramanyan’s versatility comes partly from the diverse materials he works with as a painter, muralist, printmaker, relief-sculptor, and designer, and partly from the flexibility and layered richness of his visual language. The latter allows him to move from one level of communication or expression to another with great ease and without compromising on his individuality. The ease with which he does this - be it an illustrated book or a mural that wraps a whole building - is truly phenomenal. Progressively coming under the influence of his brothers who had literary and cultural interest, one of them a school teacher, Subramanyan began to take advantage of the town’s public library and became a voracious, precocious reader. He familiarized himself with Malayalam and English poetry and made acquaintance with the larger world of professional art. However, art was still not his main interest. In 1942, a time when the Quit India movement reupted, Subramanyan became a leading student activist and led protests which got him arrested and sent to jail for six months in 1943. To save him from this fresh detention, his brother who was a police officer and lived in Mangalore took him under his wings and wrote a letter to Nandalal Bose, having noticed Subramanyan’s continued interest in art. He wanted to find out if Bose would be willing to take Subramanyan on as a student and in 1944 received a response welcoming him. Though he had been deeply involved with political activism, he reached a point in his life where he realized that politics was not cut out for him, Subramanyan then heeded to Nandalal’s call and went to Santiniketan to study art at Kala Bhavan.
Subramanyan defies bracketing and stands a little apart on the Indian art scene. Drawn to the nationalist movement early in life he developed an ideological perspective on culture even before he went to art school. Educated at Kala Bhavan, Santiniketan, one of the nerve centers of pre-independence cultural resurgence under artists who were exercised about the larger questions of cultural practices, he was geared to take a broader view of life and art. This separated him from his contemporaries in post-independent India who were largely guided by a passionate commitment to European modernist styles and modernist individualism. Working in intellectual isolation it took him time to shape his ideas and give them visual articulation. But once he spread his wings, his stature grew and it has, as it seldom does in art, kept growing with age.
Subramanyan did further studies at Slade School of Art, London. He continued painting and teaching over the next few decades, and was appointed a fellow of the National Lalit Kala Akademi in 1985, and a Christensen Fellow at St. Catherine’s College, Oxford, in 1987-88. Subramanyan also served as Dean at the Faculty of Fine Arts, M. S. University, Baroda, and in 1989 was appointed Professor Emeritus at Santiniketan. He has had numerous solo and group exhibitions, and participated in several major Biennales and Triennales. In 1966 Subramanyan was awarded the John D. Rockfeller III Fund Fellowship. In recognition of his varied contributions to the development of Indian art he was awarded the Shiromani Kala Puraskar by the Government of India in 1994. A retrospective exhibition of his work was held in 2003 at the National Gallery of Modern Art, New Delhi and Mumbai. Subramanyan was awarded the Padma Bhushan and the Padma Vibhushan by the Government of India in 2006 and 2012 respectively. At the age of 92, he passed away in Vadodara in June 2016.

Satish Gupta, born in 1947, New Delhi, is a versatile artist with expertise in painting, sculpture, poetry, writing, printmaking, drafting, mural, design, calligraphy, and ceramics. After studying at the College of Art, New Delhi, he pursued graphic studies in Paris on a scholarship, residing there for two influential years.
In Paris, he encountered a Zen book that became pivotal in shaping his spiritual reflection, evident in his works. Gupta’s art exudes a meditative quality, providing viewers with a serene detachment, showcasing the artist as both the participant and the observer of his life. Notably, He donated “The Buddhas Within” to CSMVS, placed outside on the lawn. He also collaborated with Prime Minister Narendar Modi on the charity auctioned sculpture painting “Om Namo Shivaya” at Sotheby’s.  

Satish Gupta, born in 1947, in New Delhi, is a versatile artist with expertise in painting, sculpture, poetry, writing, printmaking, drafting, mural, design, calligraphy, and ceramics. After studying at the College of Art, New Delhi, he pursued graphic studies in Paris on a scholarship, residing there for two influential years.
In Paris, he encountered a Zen book that became pivotal in shaping his spiritual reflection, evident in his works. Gupta’s art exudes a meditative quality, providing viewers with a serene detachment, showcasing the artist as both the participant and the observer of his life. Notably, He donated “The Buddhas Within” to CSMVS, placed outside on the lawn. He also collaborated with Prime Minister Narendar Modi on the charity auctioned sculpture painting “Om Namo Shivaya” at Sotheby’s.  

Prabhakar Kolte was born in 1946 and received his diploma from the Sir J.J. School of Art in 1968. Between 1972 and 1994 he taught at the School of Art. He has had several solo shows and participated in important group exhibitions like ‘Art- Mosaic- celebration of Calcutta’s Tercentenary, Calcutta and Mumbai, 1990; ‘Wounds’ CIMA Gallery, Calcutta, 1993; ‘Parallel Perceptions’ Sakshi, Gallery, Mumbai, 1993 and 94 and ‘Bombay- A Tribute To The City’ organized by RPG Enterprises, Mumbai, 1995. Kolte has also exhibited at ‘Six Indian Painters’ curated by Geeta Kapur at Toto grad, Yugoslavia, Ankara and Istanbul, 1985, ‘Three Artists’ Hong Kong, 1995 and Galerie Foundation for Indian Artists, Amsterdam, 1996. Kolte’s abstract layering with paint echo cityscapes where the signs and textures reveal his modernist consciousness.

Born in 1943 in New Delhi, Shobha completed her Diploma in Fine Arts (Painting) from College of Art, New Delhi in 1964 and her Sangeet Visharad at New Delhi in 1962. In her early phase, Shobha Broota worked in many genres and engaged with various mediums. She did portraitures, figurative and abstract paintings, and experimented extensively in abstract in printmaking before arriving at her philosophically rendered, meditative canvases. Broota's canvases have a tranquility and deceptive simplicity. Her abstract forms allow for meditative reverie untethered to the confines of narrative, her lines have rhythm and subtle movement, her colours, a rich resonance and her surfaces a texture that is complex yet moving. Shobha Broota, teacher at Triveni Kala Sangam in Delhi and hailing from a family rich in artistic traditions is one of India's most well established contemporary artists. Her husband is the artist Rameshwar Broota and their daughter Pooja Iranna and her husband GR Iranna are artists as well. 
She has participated in various exhibitions held in museums and galleries the world over namely in Tokyo, Cuba, Frankfurt, Hamburg, Italy, Hungry, Bulgaria, Yugoslavia, South Korea, Netherlands, Poland, Mexico, Chicago, New York, Los Angeles and Sydney, all curated by well-known curators.  

Born in Raipur, Chhattisgarh and schooled in Mayo College Girls’ School, Ajmer, Umika received her Bachelor of Fine Art (B.F.A) in Painting from Kala Bhavana, Santiniketan, West Bengal, India. Umika extended her studies in Dharamshala, Himachal Pradesh and Thimphu, Bhutan, while mastering the skill of Buddhist art form of Thangka Painting as the only women preserving this endangered art form profesionally. She also participated in workshops at Contemporary Art Studio “VAST” in Bhutan. Umika’s current focus is on redefining Thangka painting to bring traditional art to a modern time setting. Traditional art offers history and carries with itself a narration as to what is engaging within the painting. Umika has used motifs that metaphorically describe true essence is achieved with ones connection to nature. Umika´s collaboration with Choki involved the community effort of Flores Island to revitalize the weary landscape of the town with natural Thangka elements. The white canvas were people´s homes, commercial buildings, and other local institutions. Umika brought together the traditional elements of Thangka art, going on from a selection of flowers such as hydrangeas, lotus, and the waves of the Ocean. In a challenging environment, massive scale artwork, and great amounts of motivation, Umika left her inspiration in the heart of the Atlantic.

Artist Pallav Chander is back with his second solo show, Life Must Have Its Mysteries’, which according to the Delhi-based artist is autobiographical in nature. He has dared to use unconventional colours like turquoise and rust to create abstract works that are open for self-interpretation. This has been done deliberately because the artist has added several layers and elements to his works that he himself admits that “viewers will find different meaning every time they look at the paintings’. In a candid conversation with ACF, Pallav elaborates on his body of works, his inspirations and on finding his own language.

Pallav Chander was born in 1990 in New Delhi. He studied Painting from Birmingham City University, UK. He also has a background in theatres. His art is mostly autobiographical as well as the reflection of today’s society. His works question with a child-like curiosity, engaged in selfcommunication and self-analysis. One of his solo shows “Decoding A Dyslexic Mind” was held at Visual Art Gallery, New Delhi (2014). He has also participated in various group shows across India. Pallav’s works are in the collection of Kiran Nadar Museum of Art; Alkazi Foundation; Dhoomimal Gallery in New Delhi and in various other private collections across India & overseas.

Blue Reality embodies the beauty of silence, dreams, deepness, calmness, strength, romance, mystery, individuality, innocence, love, transparency, and totality in each existing form and image in nature.
Blue possesses a quality of cosmic energy. The reality of the blue galaxy and its sparkling function fascinate me. It responds by showing various phenomena of living styles and their fruitfulness.

Blue represents an unfounded, unbounded edge of emptiness and completion.  My work conveys the reality of purity, prosperity, peace, and blue's infinite journey. Blue originates from blue, traverses through blue, and embarks on a journey in search of blue, around blue, throughout blue, and until blue remains.

“Blue, a color extending beyond physical dimensions, resonates with the vast expanse of the sky and ocean, profoundly impacting emotional, mental, and cerebral states. It also personifies the essence of consciousness, knowledge, and wisdom. This expression of the ancient history of emotional evolution, presented in blue, features books and scripted texts that emphasize the boundless and unrestricted nature of knowledge. Indeed, the color blue facilitates spiritual liberation.”

Mayank Shyam, eldest son of the renowned Gond artist Jangarh Singh Shyam, was born in Bhopal. He learnt a great deal from his father and was one of the youngest members of the Jangarh School at the age of 23.Shyam’s work takes inspiration from Gond folk tales but is executed in his most individualistic approach. Gond sensibilities get convoluted into contemporary imagery, with finesse and print-like precision. His pen and ink works instil tension through interwoven fine lines creating a mesmerising composition. Apart from developing exceptional skill, he adds, “I never make paintings that are purely observational; every painting carries a philosophy, a message or a story.” At the young age of 21, Shyam was featured in the book ‘Freedom: Sixty Years after India Independence’ by Art & Heritage Foundation in 2007, alongside artists such as Rabindranath Tagore, Arpita Singh and Jamini Roy. His work was duly recognised with a state award by Hasta Shilpa Evam Hathkargha Vikas Nigam,Bhopal in 2005-06 . Shyam has exhibited extensively and had his solo show titled ‘Yesterday Today Tomorrow’ at Arushi Arts, New Delhi in 2019. He has displayed in exhibitions such as ‘Cartography of Narratives’, Gallery Latitude 28, 2019; ‘Ascending Roots’, Ojas Art Gallery, 2018; ‘Yeh Image Mahan – India meets Bharat’, CIMA Gallery, Kolkata, 2010 amongst others. He has also participated in a number of artist camps organised by Eklavya Book Publication like the ‘Vanya Prakashan’, Bhopal, 2006; ‘Primal Force’, Kolkata’s CIMA Gallery, 2006 and others. Shyam lives and works in Bhopal, Madhya Pradesh.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Venkat Bothsa, born in 1961, Andhra Pradesh. He has completed his art education in Painting from Andhra University and post-graduation in Sculpture from Benaras Hindu University, Varanasi.
He had solo exhibitions since 1995 in various cities of India. He has his solo exhibition Enigma in Gallery Sumukha, Bangalore, 2007 and another solo show at Gallery Sumukha, Chennai, 2008. He has been part of several group shows at Gallery Sumukha such as Take Two: The Chennai Chapter, Chennai, 2006; Terracotta Workshop, 2008; An Indian Contemporary Art, Visual Arts Centre, Hong Kong, 2009; Bronze, Bangalore, 2009; An exhibition of Paintings and Sculptures, Visual Arts Centre, Hong Kong, 2015; Silence Conversation, Bangalore, 2015.
He has participated in many group exhibitions, art camps and workshops in India and abroad. He has been associated with designing and putting together a tribal art and life museum called Museum of Habitat in the Araku Valley, Andhra Pradesh and a Tribal art and music museum known as Chenchu museum at Srisailam for Integrated Tribal Development Authority, Vishakapatnam, Andhra Pradesh.
Bothsa has created a number of sculptures for both public and private commissions and also his works have been in many private collections.

K Muralidharan (born. 1954) is an acclaimed Indian artist known for his distinctive, vibrant artworks that blend mythology, folklore & traditional Indian themes with a contemporary sensibility. With a career spanning decades, he has developed a unique style that brings stories and legends to life through rich colors and intricate details. K. Muralidharan's paintings evoke dreamlike realms filled with mythical beings and cultural symbols, marking him as a significant figure in modern Indian art.
Early Life & Background

Govind Vishwas was born in 1982 in Aaragahi a small village of Chattishgarh, India. Govind lives in Baroda His artwork is inspired by nature, architecture and design. his family refused and did not support his dream of pursuing arts. Still he moved in 2001 and joined Bachelors of Fine Arts, at Govt. Institute of Fine Arts, Indore (GIFA) where his core subject was Painting, Sketching, Mural Art, Water colour, Glass Designing and landscaping, but due to some unavoidable reason he could not complete his bachelors. Then in 2005 he joined Bachelors of Visual Arts (BVA) in Painting, at Maharaja Sayajirao University, Baroda with Creative Paintings, Print making, History of art and Aesthetics Then in 2010 he joined Masters of Visual Arts (MVA) in Painting, at Maharaja Sayajirao University, Baroda with Contemporary art, Installation art, Video art, Design and 3D
In 2012 and 2018, he received the prestigious Pollack Krasner Foundation Grant Award,New York for his contribution to Art then he received S.H.Raza State Award in 2020 Madhya Pradesh.
Govind has an array of experience in artwork and has exhibited his artwork at 7 Solo exhibitions in Bhopal, Indore, Baroda, Delhi and more than 65 Group shows in Delhi, Mumbai, Ranchi, Baroda, Ahmedabad, Goa, Chennai, Bangalore, South Korea, Australia, London, Bangladesh and USA.

Smriti Dixit was born in 1971. After training in classical vocal music for several years, she turned to fine arts in 1993 and completed her Bachelor’s degree from the Faculty of Fine Arts at M.S. University, Baroda, in 1994. 
Dixit’s way of working is basic and unfinished. Using her palette of cloth and thread, she copiously sticks and stitches her arrangements on a blank surface. She embraces the human processes of experimentation and creation, often in an effort to communicate the concepts of rebirth, recycling and renewal to her viewers. Once she feels a piece is complete, Dixit makes no attempt to tidy the surface. There is no folding-in and trimming of ends to reveal the clean edges of her canvas, nor does she conceal any tears or damage that may have occurred during the process. In a way, her weathered canvases suggest the elaborateness of her creative process.  
Some of her solo shows include those at Aicon Gallery, Palo Alto in 2006; Triveni Gallery, New Delhi, in 2005 and 2001; Art Musings, Mumbai, in 2004; and Apparao Galleries, Mumbai, in 2001 and 1998. Dixit has also participated in a number of group exhibitions, the more recent ones being ‘Roop Adhyatma’ at Bodhi Art, Singapore in 2006; ‘Basant Show’ at Bodhi Art, New Delhi in 2006; ‘Abstract Visions’ at Galerie Muller & Plate, Munich in 2005; and ‘Performative Textures’ at the India Habitat Centre Visual Arts Gallery, New Delhi in 2003. 

Japani Shyam is the daughter and first-born of renowned Gond artist Jangarh Singh Shyam. Named after her late father’s first trip to Japan, during which time she was born, Japani started painting at a very young age, and won the Kamala Devi award when she was eleven years old. Just like her father, Japani also narrates stories from nature in her art, though in a distinct style of her own.
After her father’s untimely passing when she was just 13, Japani took it upon herself to further Jangarh’s artistic legacy, and using the paints and brushes that her father had given her, she created her own vibrant, mystical world of Gond art. Her evocative artworks are beautiful depictions of birds, animals and nature, as well as Gond folklore and traditions.
An acclaimed artist in her own right, Japani Shyam’s artworks have been displayed internationally, and her first solo exhibition opened at Gallerie Ganesha in New Delhi, in 2019. Japani’s mother, Nankusia Bai, and brother, Mayank Shyam, are also acclaimed Gond artists.

Japani Shyam is the daughter and first-born of renowned Gond artist Jangarh Singh Shyam. Named after her late father’s first trip to Japan, during which time she was born, Japani started painting at a very young age, and won the Kamala Devi award when she was eleven years old. Just like her father, Japani also narrates stories from nature in her art, though in a distinct style of her own.
After her father’s untimely passing when she was just 13, Japani took it upon herself to further Jangarh’s artistic legacy, and using the paints and brushes that her father had given her, she created her own vibrant, mystical world of Gond art. Her evocative artworks are beautiful depictions of birds, animals and nature, as well as Gond folklore and traditions.
An acclaimed artist in her own right, Japani Shyam’s artworks have been displayed internationally, and her first solo exhibition opened at Gallerie Ganesha in New Delhi, in 2019. Japani’s mother, Nankusia Bai, and brother, Mayank Shyam, are also acclaimed Gond artists.

My Gods in SARGAM series 2020, celebrates unity in the multiplicity of faith, where music becomes my prayer, uniting all my Gods in perfect harmony and rhythm. Each of my Gods of God, with their unique character and power, finds a home in the seven universal notes of Sargam:
Shiva grounds the root note SA, Vishnu anchors the unchanging PA, and Durga, my divine mother, resides in MA. Ganesha heralds new beginnings with GA, Buddha’s wisdom, courage, and compassion flow through DHA, the day and night rhythm in RE and NI, and Saraswati, my Goddess of knowledge, soars in the higher, together creating harmony of Sargam called Life.
 Penned in Hebrew, English, Korean, and Devanagari, united in the sound of music, inked in indigo.
Set of 7 artwork ( on the 7 notes)

Born in June, 1976 in a semi-urban town of Jamui, Bihar, Suraj Kumar Kashi was always inclined towards art. With a Bachelor’s degree in fine arts from the Art College, Patna and a Master’s degree from College of Art, Delhi University in 2003, Suraj started out in the advertising world. For two and a half years he was an art director in Ogilvy & Mather, where he churned out creative lines for many multinational brands. Post this, he realized his calling was always the canvas.
He has participated in several solo and group shows across the country including the Athens Biennale in 2013. The urban elite and rural folk both have a place in Suraj Kumar’s dreamlike world of flying horses and white clouds. He is a surreal artist inspired by temples and sufi music.

In my works I use metaphors in art that visually depict my own journey from the rural to the urban using bright, stark and colorful imagery. The recurring imagery of animals in art is a part of this metaphor that forms in each of my artwork giving real substance and meaning to the art works. Between desires and aspirations and of stability and instability all the characters in my art, an array of animals and other subjects depict a transitional journey of life. The image of the house or monuments recurs in my work repeatedly as a symbol that denotes aspirations and stability. The works Tiger, zebra and birds are juxtaposed with elements of the present existence jostling for space with crowd and other signs that are synonymous with city life. Each of the subjects in my art is a well contemplated insightful thoughts, be it acrylic-on-canvas they are soothing yet thought-provoking.
I have completed Bachelor of Fine Art in painting from Patna University and Master of Fine Arts in painting from Venkateshwara open University . I was the winner of several awards from the Red Cross Society of South Korea to the national Poster competition with solo and group exhibitions in the country i.e. Art for Life lll Organized by Aapsa art Present ,Lalit Kala Academy, New Delhi- 2013, Apparao Art Gallery at Lila palace Chennai, Alliance Frances New Delhi -2015 ,Art Positive Gallery presented Art Spotting Group show New Delhi -2014, Strength to strength Apparao Art Gallery 2016 ,Lodhi Hotel , Gallery Sree mediating dreams ..Visual arts gallery new Delhi 2017 ,Art on the move ,Apparao art gallery Lodhi hotel 2013, MOMUS, Greece Group show presented by Gallery Onkaf new Delhi 2017, Let’s Get Phygital Trinity art Gallery Mumbai 18 Nov 2022 Feb 23, Shailja’s Studio Group Show Nov 2022, Gandhi or Gandhi ka India .Department of Financial Management new Delhi 1 October 2022 ,Trinity art Gallery present Group show Mumbai 2022, Gallery pioneer present Panoramic view of Bihar 2022, Under the white sky Group exhibition Arpana kaur Gallery 5 June 2022, Shailja’s Studio Group Show SPECTRUM April 2022, Vayam –Navam origanised by Aapsa art & Shailja’s Studio 26 feb 2022, TAP India Crossing Over art Show presented Apparo art Gallery 2020, Journey Beyond presents Gallery 1000 A 15th Dec 2020 , Art Fair in Delhi Okhla 2012,13,14 and many more.
Presently I lives-in New Delhi.

Pichwai art is a traditional style of painting that originated in the state of Rajasthan in India. The word "pichwai" comes from the Hindi words "pich" meaning "back" and "wai" meaning "hanging." This art form is traditionally used to decorate the backdrops of Hindu temples, specifically for Lord Krishna.  Pichwai paintings are known for their intricate designs, vibrant colours, and spiritual themes. Today  Pichwai painting of Rajasthan has amassed immense popularity across the world. In this blog, let us learn about  Pichwai painting’s history and know about some of the famous artists of this art. 
One of the distinguishing features of  Pichwai paintings is their intricate design. These paintings have distinct features of a heavier body and large elongated eyes, with a broad nose of Shrinathji, similar to the features of the idol at the temple. The paintings are often filled with details, such as flowers, animals, and geometric patterns, which are arranged in a symmetrical and balanced composition. One of the most famous motifs of this art form is the  Pichwai cow painting  against the backdrop of flowers which is also called ‘The Kamdhenu’. Pichwai paintings have different themes which keep changing according to the seasons. The painting depicting pink lotuses in summer contrasts with the one for Sharad Purnima, which features a bright full moon in a night scene. Other themes like Raas Leela, Holi, and Annakut (Govardhan Puja) are also present and showcased during their respective occasions. 

Born in 1969 and studied in Kala Bhavan, Santiniketan. The influence of the Bengal School is evident in Bratin Khan’s masterful handling of colour and the line. His paintings seem to have the proverbial halo surrounding them. His subjects are relaxed and flow seamlessly within
the greater picture of the beautiful world that they dwell in. The artist always draws his figures from the ocean of stories that is Indian mythology, religion and folk lore. His focus on detail and remarkable skill over the line make his style unique.

My journey informs my work of healing. The visual aesthetic of my works draws
inspiration from the form of a human cell. The first time this imagery entered my practice
was after I participated in a Native South American healing ritual called Kambo. During the
ritual, a shaman burns tiny holes into one’s skin in a pattern. Then, they apply the frog's
poison on the holes. The purging that follows is believed to cleanse the body, mind and
spirit. The burns, however, leave behind henna-coloured cellular shaped scars. These forms
unconsciously entered my paintings and changed the course of my artistic imagination and
expression. What interests me is how the process of repeating a singular form translates
into a practice of chanting, with every chant telling different stories, sometimes about scars
visible on our physical bodies and others that leave no residues on the skin’s surface.
The work Saṃsāra which translates from Sanskrit as “Cyclic Transformation” visually speaks
of the karmic cycles we are a part of and how we go through life in circles of constant
change, birth, growth, decay, death, rebirth and on and on, evolving at every stage and
through every circle, breaking free towards finding our true selves and purpose.
The work Ojas which means “Vigor of Life” symbolizes the life force radiating inside our
physical and spiritual embodiments. The work, then, echoes of the synchronicity between
the body’s interior and dark matter, the body being a portal to the superconscious.

My work is informed by my own journey of healing. The visual aesthetic of my works draws
inspiration from the form of a human cell. The first time this imagery entered my practice
was after I participated in a Native South American healing ritual called Kambo. During the
ritual, a shaman burns tiny holes into one’s skin in a pattern. Then, they apply the frog's
poison on the holes. The purging that follows is believed to cleanse the body, mind and
spirit. The burns, however, leave behind henna-coloured cellular shaped scars. These forms
unconsciously entered my paintings and changed the course of my artistic imagination and
expression. What interests me is how the process of repeating a singular form translates
into a practice of chanting, with every chant telling different stories, sometimes about scars
visible on our physical bodies and others that leave no residues on the skin’s surface.
The work Saṃsāra which translates from Sanskrit as “Cyclic Transformation” visually speaks
of the karmic cycles we are a part of and how we go through life in circles of constant
change, birth, growth, decay, death, rebirth and on and on, evolving at every stage and
through every circle, breaking free towards finding our true selves and purpose.
The work Ojas which means “Vigor of Life” symbolizes the life force radiating inside our
physical and spiritual embodiments. The work, then, echoes of the synchronicity between
the body’s interior and dark matter, the body being a portal to the superconscious.

He is an Indian Asian Modern & Contemporary artist who was born in 1993.He has completed his MVA (Graphics) in Fine Arts and BFA from Department of Fine Arts, MSU, Vadodara, Gujarat. He has received the Best Graphics Awards-2016 from State Lalit Kala Lucknow, U.P. He has been part of various group shows in India and his work has been acquired in the permanent collection of China Printmaking Museum,
Shenzhen, China , 2016.. Their work was featured in several exhibitions at key galleries and museums

Priyanka Aelay (born 1990) in Hyderabad, Telangana. Priyanka is known for her contemporary work which represents a lot of flora and fauna with a minimalist pproach towards Indian miniature art. Her work wishes to invite the viewer into her own web of creative impulses which are sumptuously woven into known and unknown corral forms. The known mutate the unknown, imitating and renovating the ‘real’, as her ‘kunstwollen’ further gives rise to an innovative visual glossary of the implausible Imagery, which is predominant in her intricate detailed work. Priyanka holds a Masters in Fine Arts from Hyderabad Central University, a doctoral degree, and is a Research Scholar from the English and Foreign Languages University. She has held many successful shows and her art has met with acclaim all over. She has been part of the prestigious cross residency program in Bordeaux, France by Bordeaux Metropolis and Kalakriti Art Gallery in Hyderabad, and also another residency by A4all in Sanskriti Kendra, Delhi, India. Her works are sure to enchant and enthrall art lovers around the world.

In confluence, the juxtaposed images the artist canvas speak about different time frames and ideas that shaped my artistic oeuvre in contemporary times. Through these depictions he the artist to bridge the continental gap of the east and the west. Each of these paintings has message of shaping up a new imagination. This is a dialigue between the great art work of the west and east.

EH Pushkin is a professional painter, sculptor, poet, short story writer, art and literary critic, and graphic designer. He is the author of three books of poetry and short stories. He studied creative painting at the College of Fine Arts in Trivandrum and the Faculty of Fine Arts at MS University, Baroda, India, with distinction. His work has been exhibited in India, Geneva, Bangkok, Beijing, Taipei, and Mauritius. His paintings and posters were exhibited during the two world conservation congresses, one in Montreal in 1995 and one in Jordan in 2000. 

Bhuri Bai is an artist, illustrator and muralist born in the mid 1960s in a remote village called Pithol, at the border of Gujarat and Madhya Pradesh. She was the first woman from her community – the Bhils – to paint on paper and canvas. Bhuri Bai's paintings are characterised by their lively visual vocabulary driven by an autobiographical and archival impulse, as she draws from her encounters with flora and fauna in the forests surrounding her village, motifs from traditional tattoos and her later experiences and travels as a contemporary artist.Narrated using her own words and paintings, combined with new research, this exhibition charts Bhuri Bai’s inspiring journey from growing up as a daily wage worker from a marginalised community to becoming a successful contemporary artist. Her early works are painted with earth colours such as black, red, green and yellow, which have traditionally been used by the Bhils. “I would make colours in an earthen pot. Black, using scraped soot from the burnt pan used for cooking. I made green by drying leaves that I would grind into a powder. I made yellow from turmeric left over from wedding rituals. In the rivers and canals where we bathed, there was a kind of crab that refines the soil and makes it very fine. I used to bring this reddish soil back with me and make it into pigment.” She has won many awards including the highest state honour accorded to artists by the Madhya Pradesh government, the Shikhar Samman. She was awarded India's fourth highest civilian award the Padma Shri in 2021.

Bhuri Bai is an artist, illustrator and muralist born in the mid 1960s in a remote village called Pithol, at the border of Gujarat and Madhya Pradesh. She was the first woman from her community – the Bhils – to paint on paper and canvas. Bhuri Bai's paintings are characterised by their lively visual vocabulary driven by an autobiographical and archival impulse, as she draws from her encounters with flora and fauna in the forests surrounding her village, motifs from traditional tattoos and her later experiences and travels as a contemporary artist.Narrated using her own words and paintings, combined with new research, this exhibition charts Bhuri Bai’s inspiring journey from growing up as a daily wage worker from a marginalised community to becoming a successful contemporary artist. Her early works are painted with earth colours such as black, red, green and yellow, which have traditionally been used by the Bhils. “I would make colours in an earthen pot. Black, using scraped soot from the burnt pan used for cooking. I made green by drying leaves that I would grind into a powder. I made yellow from turmeric left over from wedding rituals. In the rivers and canals where we bathed, there was a kind of crab that refines the soil and makes it very fine. I used to bring this reddish soil back with me and make it into pigment.” She has won many awards including the highest state honour accorded to artists by the Madhya Pradesh government, the Shikhar Samman. She was awarded India's fourth highest civilian award the Padma Shri in 2021.

Bhuri Bai is an artist, illustrator and muralist born in the mid 1960s in a remote village called Pithol, at the border of Gujarat and Madhya Pradesh. She was the first woman from her community – the Bhils – to paint on paper and canvas. Bhuri Bai's paintings are characterised by their lively visual vocabulary driven by an autobiographical and archival impulse, as she draws from her encounters with flora and fauna in the forests surrounding her village, motifs from traditional tattoos and her later experiences and travels as a contemporary artist.Narrated using her own words and paintings, combined with new research, this exhibition charts Bhuri Bai’s inspiring journey from growing up as a daily wage worker from a marginalised community to becoming a successful contemporary artist. Her early works are painted with earth colours such as black, red, green and yellow, which have traditionally been used by the Bhils. “I would make colours in an earthen pot. Black, using scraped soot from the burnt pan used for cooking. I made green by drying leaves that I would grind into a powder. I made yellow from turmeric left over from wedding rituals. In the rivers and canals where we bathed, there was a kind of crab that refines the soil and makes it very fine. I used to bring this reddish soil back with me and make it into pigment.” She has won many awards including the highest state honour accorded to artists by the Madhya Pradesh government, the Shikhar Samman. She was awarded India's fourth highest civilian award the Padma Shri in 2021.

Bhuri Bai is an artist, illustrator and muralist born in the mid 1960s in a remote village called Pithol, at the border of Gujarat and Madhya Pradesh. She was the first woman from her community – the Bhils – to paint on paper and canvas. Bhuri Bai's paintings are characterised by their lively visual vocabulary driven by an autobiographical and archival impulse, as she draws from her encounters with flora and fauna in the forests surrounding her village, motifs from traditional tattoos and her later experiences and travels as a contemporary artist.Narrated using her own words and paintings, combined with new research, this exhibition charts Bhuri Bai’s inspiring journey from growing up as a daily wage worker from a marginalised community to becoming a successful contemporary artist. Her early works are painted with earth colours such as black, red, green and yellow, which have traditionally been used by the Bhils. “I would make colours in an earthen pot. Black, using scraped soot from the burnt pan used for cooking. I made green by drying leaves that I would grind into a powder. I made yellow from turmeric left over from wedding rituals. In the rivers and canals where we bathed, there was a kind of crab that refines the soil and makes it very fine. I used to bring this reddish soil back with me and make it into pigment.” She has won many awards including the highest state honour accorded to artists by the Madhya Pradesh government, the Shikhar Samman. She was awarded India's fourth highest civilian award the Padma Shri in 2021.

Lado Bai is a tribal artist from the Bhil tribe of Madhya Pradesh, India. Her work has been showcased in various exhibitions in India, France and the UK. She lives and works in the Adivasi Lok Kala Academy, a cultural institiution established by the govnerment of Madhya Prades in 1980 to preserve and develop tribal arts. Lado Bai was born in the Badi Bawadi village of Jhabua, Madhya Pradesh in the Bhil tribal community. At a very early age, she moved to Bhopal with her family to be engaged as manual labourers in the building of the iconic Bharat Bhavan, a multi-arts completx and museum in Bhoopal, Imdia. She got married and continued to work in the building complex and also painted to de-stress after a day's work.

Chandrapal panjre( born1990) is a young Artist based in Balaghat (M.P). M.F.A in painting from I.K.S.V (2018). He’s art practice is influenced by the rural culture and society. Growing up in a village, he was able to experience the beauty, simplicity in rural life. The artist uses KANTHA fabric as his canvas to express and bring forward the aesthetic sense of rural lifestyle. The many shapes, textures, and forms that emerge from the old worn-out fabric in his work, tell the story of the altimate truth in which the villagers live. Chandrapal has actively participated in numerous art events including; CIMA Awards show, Art Exhibition in Cima gallery (2022), LKA, 61st National Exhibition (2020) and His works have been Exhibited in different curated group shows in India also, A solo show at Triveni Kala sangam, new delhi(2020) and he has been credited of several awards such as Junior Research Fellowship,CCRT, Under ministry of culture and Laxmi Singh Rajput Award under M.P Rupankar art exhibition (2021), State Award under Prafulla Dahanukar art Foundation (2017) and Indutai Tilak Award under Lokmanya tilak art exhibition, (2019)

Chandrapal panjre( born1990) is a young Artist based in Balaghat (M.P). M.F.A in painting from I.K.S.V (2018). He’s art practice is influenced by the rural culture and society. Growing up in a village, he was able to experience the beauty, simplicity in rural life. The artist uses KANTHA fabric as his canvas to express and bring forward the aesthetic sense of rural lifestyle. The many shapes, textures, and forms that emerge from the old worn-out fabric in his work, tell the story of the altimate truth in which the villagers live. Chandrapal has actively participated in numerous art events including; CIMA Awards show, Art Exhibition in Cima gallery (2022), LKA, 61st National Exhibition (2020) and His works have been Exhibited in different curated group shows in India also, A solo show at Triveni Kala sangam, new delhi(2020) and he has been credited of several awards such as Junior Research Fellowship,CCRT, Under ministry of culture and Laxmi Singh Rajput Award under M.P Rupankar art exhibition (2021), State Award under Prafulla Dahanukar art Foundation (2017) and Indutai Tilak Award under Lokmanya tilak art exhibition, (2019)

Lindsey Nobel (1969) was born in Baltimore, Maryland. Nobel attended the University of California, Santa Cruz, graduating in 1992 with a Bachelor of Fine Arts. She also attended the Royal College of art through the University of California, Los Angeles, where she studied figure painting. Lindsey continued her education at the Museum School in Boston. After Graduating from University of California at Santa Cruz she moved to San Francisco. During the run of a 2004 solo show at Cartelle Gallery, Los Angeles curated by Sam Freedman and Heather Harmon, Lindsey was introduced to a group of Los Angeles artists to which she is still very much connected. The 2009 exhibition at the Los Angeles L2Kontemporary Gallery titled “Mo’ Flow: Blots & Trails,” was curated by Peter Frank and included the work of five southern California painters, one of those painters was Lindsey Nobel. For this exhibition she worked with fabricator Jack Brogan and created her “Overview" paintings. In 2011 she found her way to the City of Inglewood where she discovered she could financially afford to rent a live-work studio. Lindsey’s first Inglewood studio was located on West Street and her current studio is on La Brea Avenue. In May of 2016 she obtained gallery representation at the Jason Vass Gallery in Los Angeles, where her "Overview" paintings will be shown in a 2017 exhibition. Lindsey Nobel is a mixed-media artist living and working in Los Angeles. Her art employs various media to explore ideas of technology, science and human connection. Lindsey’s artistic process stems from investigating memory, dislocation and environment. Attachment and reflection. In 1992 she began developing a drawing language that, for better or worse, connects us to computers. Lindsey’s work exposes the invisible world to which we are utterly attached via the Info sphere.

Lindsey Nobel (1969) was born in Baltimore, Maryland. Nobel attended the University of California, Santa Cruz, graduating in 1992 with a Bachelor of Fine Arts. She also attended the Royal College of art through the University of California, Los Angeles, where she studied figure painting. Lindsey continued her education at the Museum School in Boston. After Graduating from University of California at Santa Cruz she moved to San Francisco. During the run of a 2004 solo show at Cartelle Gallery, Los Angeles curated by Sam Freedman and Heather Harmon, Lindsey was introduced to a group of Los Angeles artists to which she is still very much connected. The 2009 exhibition at the Los Angeles L2Kontemporary Gallery titled “Mo’ Flow: Blots & Trails,” was curated by Peter Frank and included the work of five southern California painters, one of those painters was Lindsey Nobel. For this exhibition she worked with fabricator Jack Brogan and created her “Overview" paintings. In 2011 she found her way to the City of Inglewood where she discovered she could financially afford to rent a live-work studio. Lindsey’s first Inglewood studio was located on West Street and her current studio is on La Brea Avenue. In May of 2016 she obtained gallery representation at the Jason Vass Gallery in Los Angeles, where her "Overview" paintings will be shown in a 2017 exhibition. Lindsey Nobel is a mixed-media artist living and working in Los Angeles. Her art employs various media to explore ideas of technology, science and human connection. Lindsey’s artistic process stems from investigating memory, dislocation and environment. Attachment and reflection. In 1992 she began developing a drawing language that, for better or worse, connects us to computers. Lindsey’s work exposes the invisible world to which we are utterly attached via the Info sphere.

I am an abstract expressionist. After completing my M.F.A I joined Bharat Bhawan, a multi-art centre in Bhopal. In its workshop I worked as a freelance artist for five years. During this time I got the chance to meet veteran artists like Manjeet Bawa and Raza. In 2005, Manjeet Bawa curated a show in Delhi in which my works were also exhibited. This was the time when CIMA art gallery, Kolkata and Dhoomimal art gallery in Delhi also exhibited my works. At international level I exhibited my works at Triennial in Canada. This was how my art career was progressing and my art was getting recognized.
I got my first solo show in 2007. The show was sponsored by Seagull Art Centre, Kolkata. My second solo show in 2008 was in Arushi Art gallery. Both the shows were a great success. My next solo shows were in 2012 and 2016 with Seagull Art Centre and Harrington Street. These shows were significant both in terms of philosophy and artistic proficiency. And again in 2021 I did a solo with Arushi Art gallery. Over all these years my art was progressing in Visual, verbal, philosophical and professional terms. Soon I carved out my own niche in the art field and got recognition in the form of state and national wards and exhibitions. My works also received international recognition and awards in 2017 and again in 2022 from Pollock-Krasner foundation, New York. Besides the fellowship from Ministry of Culture, I received the grand Prize at the 7th Bharat Bhawan Biennial of Indian Contemporary Art in 2018.
Today when I look back at my 22 years long art journey I find myself at a place where my artistic career, profile and concept/philosophy reflect my work’s maturity level for which I have disciplined myself through years of dedication that is also evident in my minimalistic and linear sophistications and poetry.

Rooted in close observation of everyday life, I am drawn to human sentiments and the unassuming routines of the common man. The figures, often portrayed as extensions of myself or as universal representations of humanity, convey a desire to simply exist. Through layered narratives, I juxtapose the chaos and stillness of life, evoking mysterious emotions and strange, yet familiar, experiences.
Each chosen image holds a unique emotion and individuality, reflecting both the mundane and the profound. Inspired by day-to-day observations, I document and reinterpret these visuals, creating compositions that honor the beauty and complexity of life in its most unassuming forms.
My work draws inspiration from the transient yet profound moments of train journeys—a microcosm of life where the chaos of the everyday meets fleeting stillness. Observing common people sleeping in trains, I explore the narratives shaped by their hectic routines and the quiet resilience of simply existing amidst the demands of daily life. These scenes reveal a poignant juxtaposition: the surrender of the body to rest and the invisible weight of relentless schedules. The cramped spaces, contorted postures, and scattered belongings of sleeping travelers become metaphors for lives in constant motion, striving for balance amidst the chaos.
This exploration of the everyday invites viewers to pause and reflect on the human stories often overlooked in the hum of routine, honoring the resilience and intimacy found in these unguarded moments.
Through a monochromatic palette dominated by shades of blue, I explore the dichotomy between chaos and calm. The blue light, symbolic of serenity yet tinged with melancholy, bathes the figures as they navigate the exhaustion of their daily grind. These sleeping passengers, contorted in their makeshift sanctuaries, embody the tension between survival and respite—a testament to the human spirit adapting to the demandsofmodernlife.

Rooted in close observation of everyday life, I am drawn to human sentiments and the unassuming routines of the common man. The figures, often portrayed as extensions of myself or as universal representations of humanity, convey a desire to simply exist. Through layered narratives, I juxtapose the chaos and stillness of life, evoking mysterious emotions and strange, yet familiar, experiences.
Each chosen image holds a unique emotion and individuality, reflecting both the mundane and the profound. Inspired by day-to-day observations, I document and reinterpret these visuals, creating compositions that honor the beauty and complexity of life in its most unassuming forms.
My work draws inspiration from the transient yet profound moments of train journeys—a microcosm of life where the chaos of the everyday meets fleeting stillness. Observing common people sleeping in trains, I explore the narratives shaped by their hectic routines and the quiet resilience of simply existing amidst the demands of daily life. These scenes reveal a poignant juxtaposition: the surrender of the body to rest and the invisible weight of relentless schedules. The cramped spaces, contorted postures, and scattered belongings of sleeping travelers become metaphors for lives in constant motion, striving for balance amidst the chaos.
This exploration of the everyday invites viewers to pause and reflect on the human stories often overlooked in the hum of routine, honoring the resilience and intimacy found in these unguarded moments.
Through a monochromatic palette dominated by shades of blue, I explore the dichotomy between chaos and calm. The blue light, symbolic of serenity yet tinged with melancholy, bathes the figures as they navigate the exhaustion of their daily grind. These sleeping passengers, contorted in their makeshift sanctuaries, embody the tension between survival and respite—a testament to the human spirit adapting to the demandsofmodernlife.

How does the social construct that we are involved in influence us ? I'm going through life
scenarios that one may face while being part of a society. I try to analyze the consequences of
my existence as a person and search my memories, experiences and imagination for
explanations. By experimenting with different mediums, I try to connect my personal experience
with the experience of nature.
Alternating between forms, materials, and scale, and veering between figuration and abstraction
became a basic part of my vision, , I employ geometric pattern, ritualistic forms, symbolic icons,
and repetitive mark-making to conjure sacred spaces that invite introspection and self-discovery.
These ritualistic forms, imbued with personal significance serve as conduits to the collective
unconscious, bridging past and present. Through layered textures and evocative colors, I
Attempting to navigate through the mystery and complexity of human existence and
identity.Using personal artifacts, I create collages depicting the fragmented body of memories in
an attempt to examine the many facets of being human,from our deepest fears to our most
profound spiritual inquiries.

My work is rooted in close observations of everyday life, with a focus on human sentiments, routines, and the subtleties of the common man’s experience. I am deeply interested in the nuances of human behavior—small gestures, fleeting emotions, and the mundane moments that often go unnoticed. For me, these observations form the core of my practice, allowing me to explore and express the complexity of human emotions through figurative narratives.
I often find myself drawn to the ordinary, capturing moments that reflect the quiet yet profound aspects of life. My compositions frequently include human figures, either as representations of myself or as stand-ins for anyone who simply desires to live. In my compositions, human emotions become the foundation, often obscured or juxtaposed with other elements. I combine these emotions with anecdotes of mysterious evocations, figurative gestures, and strange experiences that reflect the complexities of life.
The process of my work begins with drawings in my sketchbook. I draw inspiration from various sources, including conversations with random people, personal memories, photographs, and everyday experiences. I often sketch simple images multiple times using different mediums, exploring how variations in color and drawing marks can evoke different emotions. My palette includes sentimental pastels, vibrant colors, shades of green, and stark reds, all carefully chosen to express my ideas in a way that shapes the final image. My choice of medium varies, ranging from printmaking techniques like viscosity, woodcut, etching, and lithography, to oil paintings and graphite drawings.
I like to play with the boundary between reality and fantasy, often incorporating surreal or dreamlike qualities into my work. I am fascinated by how the past overlaps with the present and how memories can shape our perception of reality. In my work, I create spaces where these elements coexist, blending the real and the imagined in a way that feels both familiar and otherworldly. This approach allows me to reflect on the absurdities I observe in life, turning them into visual narratives that explore the depth of human experience.
At the core of my practice is a deep exploration of human emotions, drawing from both personal and collective experiences. I aim to capture moments that resonate on an emotional level, making the viewer pause and reflect. Whether it’s a scene inspired by the vibrant yet contrasting elements of a dream, a poignant story shared by someone I met, or a quiet moment from everyday life, my work strives to evoke a sense of connection and understanding. Through my art, I seek to navigate the intricate dance between what is seen and what is felt, revealing the layers of human experience in ways that are both genuine and deeply personal.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Yash is a visual artist based in Baroda. He holds MVA Printmaking and BVA Applied Art from the M.S. University of Baroda, and has received the Jeram Patel award from The Department of Graphic Arts, MSU, where he presently works as a Teaching Assistant. He is fascinated with 19th-century photographic printmaking processes; he is exploring and working with iron, chromium, and silver-based processes to produce his body of work. He has been connected as a visiting faculty at MRID, Faculty of Fine Arts, MSU and Meraki Design Studio. He has worked as an assistant professor at the World University of Design, Sonipat, for 1.5 years. He has conducted several workshops on alternative photography processes at many institutions. His works have been exhibited at the Museum of The Future, Dubai, and major cities in India, such as Delhi (IAF 20), Kolkata, Hyderabad, Bangalore, Vadodara, Surat, Ahmedabad, etc. He was an artist in residence at the Space Studio for the “Art & Ecology” Printmaking Residency program in 2019. Apart from this, he has designed an artist book for Shri JYOTI BHATT for a show “The Print : Matter in Matrix” by Gallery Latitude 28 and another book, “Goth: Adivasi Stories from Gujarat,” compiled by Kanji Patel for the Bhasha Research and Publication Centre. Currently, he is under the fellowship with Sangeet Natak Academy, Delhi and B.C Mistry & Sons for the Traditional Veena Making.

Satish Gupta, born in 1947, New Delhi, is a versatile artist with expertise in painting, sculpture, poetry, writing, printmaking, drafting, mural, design, calligraphy, and ceramics. After studying at the College of Art, New Delhi, he pursued graphic studies in Paris on a scholarship, residing there for two influential years.
In Paris, he encountered a Zen book that became pivotal in shaping his spiritual reflection, evident in his works. Gupta’s art exudes a meditative quality, providing viewers with a serene detachment, showcasing the artist as both the participant and the observer of his life. Notably, He donated “The Buddhas Within” to CSMVS, placed outside on the lawn. He also collaborated with Prime Minister Narendar Modi on the charity auctioned sculpture painting “Om Namo Shivaya” at Sotheby’s.  

Satish Gupta, born in 1947, New Delhi, is a versatile artist with expertise in painting, sculpture, poetry, writing, printmaking, drafting, mural, design, calligraphy, and ceramics. After studying at the College of Art, New Delhi, he pursued graphic studies in Paris on a scholarship, residing there for two influential years.
In Paris, he encountered a Zen book that became pivotal in shaping his spiritual reflection, evident in his works. Gupta’s art exudes a meditative quality, providing viewers with a serene detachment, showcasing the artist as both the participant and the observer of his life. Notably, He donated “The Buddhas Within” to CSMVS, placed outside on the lawn. He also collaborated with Prime Minister Narendar Modi on the charity auctioned sculpture painting “Om Namo Shivaya” at Sotheby’s.