Vivan Sundaram | Terraoptics

on Wednesday 10 May, 2017

sepiaEYE, New Yorksolo sho ... Read More

Nilima Sheikh | Documenta 14

on Saturday 08 Apr, 2017

Each Night Put Kashmir in Your Dreams ... Read More

Sonia Khurana | Walkthrough | Fold/Unfold

on Saturday 18 Feb, 2017

The second walk-through of Sonia Khur ... Read More

Shilpa Gupta | Drawing in the Dark

on Saturday 11 Feb, 2017

Drawing in the Dar ... Read More


Booth | B2
Aditi Singh | Bhuvanesh Gowda | Dhruvi Acharya | Jitish Kallat

Mithu Sen | N S Harsha | Sonia Khurana | Studio Mumbai/Bijoy Jain

Untitled | 2016

A recurrent theme in Aditi Singh’s drawings is the anatomy of flowers. Drawing flowers for over one decade, they still continue to preoccupy the artist’s oeuvre, or as she puts it: At a certain moment a form chooses you and won’t leave you in peace. I am interested in the process of peeling away the layers to get at the insides. Of having the paint make a gesture, dense and explosive or ephemeral and fragile. Of allowing line, texture, harmony, dissonance, silences, ruptures, a place to circulate. To keep shape, and flow. Of exposing the warmth of seeing-which-is-making with the grace of continuing without certainties, yet painting with an ever-vigilant eye. My intent, if any, is to keep the process open-ended.

Garuda | 2016

With wood as his primary material, Bhuvanesh’s approach to creating forms continues to be that of a proficient carpenter – strict, scrupulous, precise, dexterous and diligent. He gleans from ‘Vishwakarma’, the master carpenter and divine architect-engineer of the gods, adopting a free-flowing and process-oriented engagement with found objects and material. Disentangled from pressures associated with predetermined outcome, Bhuvanesh weaves his magic with clear doses of spontaneity, dynamism, and playfulness. In the course of this transformation, new meanings and suggestions emerge; often carrying cultural associations with the past, and softly hinting at the shape of things to come. 

Ashes | 2015

Dhruvi Acharya has developed a language that erases the sharp edges of the didactic to create forms that engage irony and dark humour. Working with this suit of drawings, painting and elements of collage she creates a circuitous and continuous loop from present to past.

This new body of work explores the arduous emotional and psychological processes of reconstructing one’s self and returning to a purposeful life. It exposes the numbness, the disbelief and the deafening screams in one’s head, where battles have to be fought in order to understand and accept a new, altered reality. The myriad visual detailing in Acharya’s work lures viewers to reflect on their own experiences and sentiments, making the specifics of the stories and the meaning of each image unimportant, and allowing for the contemplation of our shared human existence.

Home | 2015

Jitish Kallat’s Rain Study (the hour of the day of the month of the season), much like his elemental suite of Wind Studies, participates in the near currents of the atmospheric to summon images that invoke the astronomical. During rain-showers, with the drawing paper held out to the sky Kallat steps outdoors. The drawing thus becomes a rainwater receptacle with constellations of descending raindrops settling on the paper. This short duration of time, measured through the artist’s breath cycles are marked as BC on the drawings. Once overlaid with a spray of dark pigment and wiped dry, the resultant image invokes galaxy clusters or stellar maps of the distant universe. The drawing thus becomes a contemplative instrument that momentarily enters the flows in our localized environment, to exponentially shift orders of magnitude probing ideas of deep space, time, scale and location.

Some of his works revisit history, overlaying the past onto the present citing momentous historical utterances, while others such as his Rain Studies contemplate the ever-transient present moment.


Sen makes delicate yet provocative drawings detailing amalgams of human, animal and plant life. The creatures and forms that emerge in this series speak of an inner world- a meeting between the psychological and the physical realms. Sen’s recent drawings center on the space between utterance and comprehension, the void between language and meaning, the presence and absence of the line, the geometry of abstraction and the appearance of figuration. Sen manipulates shadow and light to test the limits of materiality and pushes her drawings into the space of immateriality and transience.

Untitled  | 2016

With his recent work, being a part of a gathering lets Harsha tap into the collective consciousness of the group and understand its dynamics. He tries to asses what they are driven by : political, social, religious, or cultural issues. To begin with, such gatherings use the same plastic chairs, which connote different realities ; for some it can be a 'seat' representing one ideology , for some, a social strength. This very same chair is used for the 'common man' in tea shops, temples, marriages, is covered with decorated cloth when they are part of an entirely different, 'higher class' social setting, whilst also being a skeleton for the golden chair. A meaningless cosmic doodle, born of Harsha's routine gestures in the studio space, intertwines the two groups of people with the chair which is in a phoenix like state of formation or destruction.

Garden of forking paths| 2016-17

Reena Kallat has revisited her universe from the Hyphenated Lives series. Her fantastical mutations within the natural world find their place in this urbane landscape of construction amidst this re-construction. She invents new hybridized species of birds and animals, trees and flowers, which are otherwise fore-grounded as national symbols and proclaimed by nations as their own. In this work, these get combined, symbolically unifying the nations they represent, as if we were taking a peek into an elapsed moment of unison in the past or from an imagined future when indeed they may re-unite. Seen in one work, provides a unique viewing experience of a plea for respite, much needed in our contemporary context.

Sleep wrestlers II | 2016

In Sleep Wrestlers the tension between somnolence and insomnia is performed in visual intimacy of two-ness with a revolutionary representation of women of different generations.

Mirroring and twinning are a frequent preoccupation in both topic and image - making in the work of Sonia Khurana. They now acquire a new dimension because there would be two women, two prone bodies, ostensibly mother and daughter, but also two different states of mind.

In this piece, the generational dimension marks time in two lives but also in the different moments of history they have witnessed.

The shift from horizontal to vertical is a powerful one. Sleep and death are on the mythic, horizontal axis. The upright position confers on the sleeping women the presence of an other, encountered not so much in vulnerability as in self-absorption. As women they move beyond the gendered condition of the horizontal.

Each shift is simulated as a time-lapse edit. The work creates its own rhythm for the curious mobility of the immobile in sleep, presented in compressed time.

[excerpted with permission from Griselda Pollock’s essay on artist Sonia Khurana,2016]