Abstract white curved architectural background

Entropy 2 by Pankaj Vishwakarma

Quiet Art Movement is where art breathes.

We give artists time, care, and freedom
– a garden for work to grow deep roots.

We’re here to widen what art can mean
quieter, slower, more human

Abstract white curved architectural background

Entropy 2 by Pankaj Vishwakarma

Quiet Art Movement is where art breathes.

We give artists time, care, and freedom
– a garden for work to grow deep roots.

We’re here to widen what art can mean
quieter, slower, more human

Abstract white curved architectural background

Entropy 2 by Pankaj Vishwakarma

Quiet Art Movement is where art breathes.

We give artists time, care, and freedom
– a garden for work to grow deep roots.

We’re here to widen what art can mean
quieter, slower, more human

Sreeju Radhakrishnan

B.

1988

Ernakulam, Kerala

Sreeju Radhakrishnan is an artist based in Kochi. His practice engages with local landscapes, everyday surroundings, and the identities shaped within them. It examines how cultural and power structures have historically influenced the ways people and places are represented and remembered. Landscape functions as a foundational element in the work, not as a grand or picturesque view, but as an intimate terrain drawn from backyards, wetlands, small canals, and overlooked spaces of daily life.

Rather than monumental panoramas, the artist focuses on the mundane. These modest sites are reimagined as spaces of memory, history, and imagination, where personal experience intersects with broader social and political narratives. Through this approach, landscapes are treated as fluid and layered entities, challenging fixed or authoritative representations of place.

The work draws from a wide range of visual sources, including colonial-era photographs and paintings, popular magazines, social media imagery, kitsch visuals, and vernacular painting traditions. Human figures often emerge from the artist’s immediate surroundings and are occasionally transformed through the use of colonial-period costumes, such as those of sepoys or British officers.

Placed within everyday actions—drinking, fishing, walking, gardening—these figures undergo shifts in positional and symbolic meaning. The ordinariness of these gestures, combined with historically charged attire, introduces moments of dissonance and absurdity that quietly subvert the authority and rigidity associated with colonial power structures.

The surrounding flora and fauna, rooted in regional and local ecologies, further reinforce the entanglement of place, history, and lived experience. Together, figures and landscapes operate as sites where familiar environments become unsettled and dominant narratives are gently questioned.

Sreeju Radhakrishnan

B.

1988

Ernakulam, Kerala

Sreeju Radhakrishnan is an artist based in Kochi. His practice engages with local landscapes, everyday surroundings, and the identities shaped within them. It examines how cultural and power structures have historically influenced the ways people and places are represented and remembered. Landscape functions as a foundational element in the work, not as a grand or picturesque view, but as an intimate terrain drawn from backyards, wetlands, small canals, and overlooked spaces of daily life.

Rather than monumental panoramas, the artist focuses on the mundane. These modest sites are reimagined as spaces of memory, history, and imagination, where personal experience intersects with broader social and political narratives. Through this approach, landscapes are treated as fluid and layered entities, challenging fixed or authoritative representations of place.

The work draws from a wide range of visual sources, including colonial-era photographs and paintings, popular magazines, social media imagery, kitsch visuals, and vernacular painting traditions. Human figures often emerge from the artist’s immediate surroundings and are occasionally transformed through the use of colonial-period costumes, such as those of sepoys or British officers.

Placed within everyday actions—drinking, fishing, walking, gardening—these figures undergo shifts in positional and symbolic meaning. The ordinariness of these gestures, combined with historically charged attire, introduces moments of dissonance and absurdity that quietly subvert the authority and rigidity associated with colonial power structures.

The surrounding flora and fauna, rooted in regional and local ecologies, further reinforce the entanglement of place, history, and lived experience. Together, figures and landscapes operate as sites where familiar environments become unsettled and dominant narratives are gently questioned.

Sreeju Radhakrishnan

B.

1988

Ernakulam, Kerala

Sreeju Radhakrishnan is an artist based in Kochi. His practice engages with local landscapes, everyday surroundings, and the identities shaped within them. It examines how cultural and power structures have historically influenced the ways people and places are represented and remembered. Landscape functions as a foundational element in the work, not as a grand or picturesque view, but as an intimate terrain drawn from backyards, wetlands, small canals, and overlooked spaces of daily life.

Rather than monumental panoramas, the artist focuses on the mundane. These modest sites are reimagined as spaces of memory, history, and imagination, where personal experience intersects with broader social and political narratives. Through this approach, landscapes are treated as fluid and layered entities, challenging fixed or authoritative representations of place.

The work draws from a wide range of visual sources, including colonial-era photographs and paintings, popular magazines, social media imagery, kitsch visuals, and vernacular painting traditions. Human figures often emerge from the artist’s immediate surroundings and are occasionally transformed through the use of colonial-period costumes, such as those of sepoys or British officers.

Placed within everyday actions—drinking, fishing, walking, gardening—these figures undergo shifts in positional and symbolic meaning. The ordinariness of these gestures, combined with historically charged attire, introduces moments of dissonance and absurdity that quietly subvert the authority and rigidity associated with colonial power structures.

The surrounding flora and fauna, rooted in regional and local ecologies, further reinforce the entanglement of place, history, and lived experience. Together, figures and landscapes operate as sites where familiar environments become unsettled and dominant narratives are gently questioned.

Untitled

2018

Acrylic on raw canvas

84 × 60 in

Editions:

No

Art ID: 438

Untitled

2018

Acrylic on raw canvas

84 × 60 in

Editions:

No

Art ID: 438

Untitled

2018

Acrylic on raw canvas

84 × 60 in

Editions:

No

Art ID: 438

We Are Not Crossing the River

2024

Oil on canvas

46 × 40 in

Editions:

No

We Are Not Crossing the River

2024

Oil on canvas

46 × 40 in

Editions:

No

We Are Not Crossing the River

2024

Oil on canvas

46 × 40 in

Editions:

No

Foreground

2024

Acrylic on canvas

21.7 × 29.7 in

Editions:

No

Art ID: 512

Foreground

2024

Acrylic on canvas

21.7 × 29.7 in

Editions:

No

Art ID: 512

Foreground

2024

Acrylic on canvas

21.7 × 29.7 in

Editions:

No

Art ID: 512

It Is for Everyone

2025

Acrylic on canvas

66 × 41 in

Editions:

No

It Is for Everyone

2025

Acrylic on canvas

66 × 41 in

Editions:

No

It Is for Everyone

2025

Acrylic on canvas

66 × 41 in

Editions:

No

A Country Masterpiece

2015

Acrylic on Canvas

96 × 48 in

Editions:

No

A Country Masterpiece

2015

Acrylic on Canvas

96 × 48 in

Editions:

No

A Country Masterpiece

2015

Acrylic on Canvas

96 × 48 in

Editions:

No

Unveiling the Unseen 1

2025

Acrylic on canvas

42 × 96 in

Editions:

No

Unveiling the Unseen 1

2025

Acrylic on canvas

42 × 96 in

Editions:

No

Unveiling the Unseen 1

2025

Acrylic on canvas

42 × 96 in

Editions:

No

Skarma Sonam Tashi

B.

1997

New Delhi

Skarma Sonam Tashi is from Ladakh and New Delhi, where ways of living and building have long evolved in close relationship with a fragile landscape. His practice draws from the region’s sustainable architectural traditions, which use locally sourced materials such as stone, sun-dried bricks, timber, and earth to create structures that exist in balance with the environment. As these practices gradually disappear, his work revisits and reinterprets this knowledge through a contemporary lens.

At the core of his practice is an exploration of fragility—of landscapes, materials, and human relationships with nature. He works with impermanent and discarded materials such as cardboard, paper-mâché, egg trays, and natural clay, transforming everyday waste into sculptural forms that echo Ladakh’s mountains, homes, and terrain. These materials function as metaphors for ecological vulnerability, holding both personal memory and environmental urgency.

Through sculptural and site-specific installations, his work explores the tension between resilience and impermanence, inviting reflection on sustainability, care, and the delicate balance that sustains life in Ladakh and beyond. 

Tashi was one of the National Awardees of the 64th National Exhibition of Art, 2025 at Lalit Kala Akademi, New Delhi and will be a representative artist at the India Pavilion and La Biennale di Venezia 2026.

Skarma Sonam Tashi

B.

1997

New Delhi

Skarma Sonam Tashi is from Ladakh and New Delhi, where ways of living and building have long evolved in close relationship with a fragile landscape. His practice draws from the region’s sustainable architectural traditions, which use locally sourced materials such as stone, sun-dried bricks, timber, and earth to create structures that exist in balance with the environment. As these practices gradually disappear, his work revisits and reinterprets this knowledge through a contemporary lens.

At the core of his practice is an exploration of fragility—of landscapes, materials, and human relationships with nature. He works with impermanent and discarded materials such as cardboard, paper-mâché, egg trays, and natural clay, transforming everyday waste into sculptural forms that echo Ladakh’s mountains, homes, and terrain. These materials function as metaphors for ecological vulnerability, holding both personal memory and environmental urgency.

Through sculptural and site-specific installations, his work explores the tension between resilience and impermanence, inviting reflection on sustainability, care, and the delicate balance that sustains life in Ladakh and beyond. 

Tashi was one of the National Awardees of the 64th National Exhibition of Art, 2025 at Lalit Kala Akademi, New Delhi and will be a representative artist at the India Pavilion and La Biennale di Venezia 2026.

Skarma Sonam Tashi

B.

1997

New Delhi

Skarma Sonam Tashi is from Ladakh and New Delhi, where ways of living and building have long evolved in close relationship with a fragile landscape. His practice draws from the region’s sustainable architectural traditions, which use locally sourced materials such as stone, sun-dried bricks, timber, and earth to create structures that exist in balance with the environment. As these practices gradually disappear, his work revisits and reinterprets this knowledge through a contemporary lens.

At the core of his practice is an exploration of fragility—of landscapes, materials, and human relationships with nature. He works with impermanent and discarded materials such as cardboard, paper-mâché, egg trays, and natural clay, transforming everyday waste into sculptural forms that echo Ladakh’s mountains, homes, and terrain. These materials function as metaphors for ecological vulnerability, holding both personal memory and environmental urgency.

Through sculptural and site-specific installations, his work explores the tension between resilience and impermanence, inviting reflection on sustainability, care, and the delicate balance that sustains life in Ladakh and beyond. 

Tashi was one of the National Awardees of the 64th National Exhibition of Art, 2025 at Lalit Kala Akademi, New Delhi and will be a representative artist at the India Pavilion and La Biennale di Venezia 2026.

Ingrained Sanctuary - 1

2025

Discarded wood, Papier-Mâché, Natural Pigments

10 x 6 in

Art ID: 513

Ingrained Sanctuary - 1

2025

Discarded wood, Papier-Mâché, Natural Pigments

10 x 6 in

Art ID: 513

Ingrained Sanctuary - 1

2025

Discarded wood, Papier-Mâché, Natural Pigments

10 x 6 in

Art ID: 513

Inner Landscape - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

15 x 11 x 1 in

Art ID: 262

Inner Landscape - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

15 x 11 x 1 in

Art ID: 262

Inner Landscape - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

15 x 11 x 1 in

Art ID: 262

Memory of Valleys

2025

Egg trays, Papier-Mâché, Natural pigments

11 x 11 x 9.5 in

Art ID: 463

Memory of Valleys

2025

Egg trays, Papier-Mâché, Natural pigments

11 x 11 x 9.5 in

Art ID: 463

Memory of Valleys

2025

Egg trays, Papier-Mâché, Natural pigments

11 x 11 x 9.5 in

Art ID: 463

Echoes of Mountain - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

28.5 x 28.5 x 1.5 in

Art ID: 464

Echoes of Mountain - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

28.5 x 28.5 x 1.5 in

Art ID: 464

Echoes of Mountain - 1

2025

Cardboards, Papier-Mâché, Natural Pigments

28.5 x 28.5 x 1.5 in

Art ID: 464

Echoes of Sa - 2

2024

Cardboard, Papier-Mâché, Clay

22.5 x 19.5 x 1.5 in

Art ID: 460

Echoes of Sa - 2

2024

Cardboard, Papier-Mâché, Clay

22.5 x 19.5 x 1.5 in

Art ID: 460

Echoes of Sa - 2

2024

Cardboard, Papier-Mâché, Clay

22.5 x 19.5 x 1.5 in

Art ID: 460

Fragile Layers - 3

2025

Cardboard, Papier-Mâché, Clay, Bark

17 x 14 x 1 in

Art ID: 261

Fragile Layers - 3

2025

Cardboard, Papier-Mâché, Clay, Bark

17 x 14 x 1 in

Art ID: 261

Fragile Layers - 3

2025

Cardboard, Papier-Mâché, Clay, Bark

17 x 14 x 1 in

Art ID: 261

Anshu Singh

B.

1989

New Delhi

Anshu Singh works with textiles as carriers of memory, labour, and lived exchange. Trained in weaving and textile design at Banaras Hindu University, her practice emerges from the wider Benaras region, including Mirzapur and Bhadohi, where carpet-weaving traditions shaped by Kashmiri and Persian lineages continue to circulate through hands rather than archives.

Benaras, a city sustained by design rather than raw material, is known for its zari embroidery and brocade. Weaving here is also entwined with the legacy of Kabir—the anti-caste poet whose verses moved between Hindu and Islamic thought, and whose words remain embedded in everyday artisan life.

Singh works at the intersection of contemporary artistic practice and community-based embroidery and weaving in villages around Benaras. Her relationship to textile labour began early, through her mother’s boutique, a space of informal exchange where weavers gathered, talked, and worked. Language enters her practice quietly—through single-word poems such as Life Jacket or Repair, and through fragments of Kabir’s poetry, including the line, “No more I weave a garment of pain!”

During the Covid lockdown, she embroidered Life Jacket onto jute backpacks worn by workers in a wholesale vegetable market near her home—an environment marked by risk and precarity. The gesture was intimate and direct; these were the same workers connected to her family’s vegetable fields and daily routines.

Her materials are modest and often salvaged: rope, jute sacks, used sari thread, factory cloth waste, wire, and polymer textiles repurposed from cement bags. Through these, Singh attends to repair, survival, and the quiet intelligence of hands—allowing textiles to speak of care, endurance, and shared ground.

Anshu Singh

B.

1989

New Delhi

Anshu Singh works with textiles as carriers of memory, labour, and lived exchange. Trained in weaving and textile design at Banaras Hindu University, her practice emerges from the wider Benaras region, including Mirzapur and Bhadohi, where carpet-weaving traditions shaped by Kashmiri and Persian lineages continue to circulate through hands rather than archives.

Benaras, a city sustained by design rather than raw material, is known for its zari embroidery and brocade. Weaving here is also entwined with the legacy of Kabir—the anti-caste poet whose verses moved between Hindu and Islamic thought, and whose words remain embedded in everyday artisan life.

Singh works at the intersection of contemporary artistic practice and community-based embroidery and weaving in villages around Benaras. Her relationship to textile labour began early, through her mother’s boutique, a space of informal exchange where weavers gathered, talked, and worked. Language enters her practice quietly—through single-word poems such as Life Jacket or Repair, and through fragments of Kabir’s poetry, including the line, “No more I weave a garment of pain!”

During the Covid lockdown, she embroidered Life Jacket onto jute backpacks worn by workers in a wholesale vegetable market near her home—an environment marked by risk and precarity. The gesture was intimate and direct; these were the same workers connected to her family’s vegetable fields and daily routines.

Her materials are modest and often salvaged: rope, jute sacks, used sari thread, factory cloth waste, wire, and polymer textiles repurposed from cement bags. Through these, Singh attends to repair, survival, and the quiet intelligence of hands—allowing textiles to speak of care, endurance, and shared ground.

Anshu Singh

B.

1989

New Delhi

Anshu Singh works with textiles as carriers of memory, labour, and lived exchange. Trained in weaving and textile design at Banaras Hindu University, her practice emerges from the wider Benaras region, including Mirzapur and Bhadohi, where carpet-weaving traditions shaped by Kashmiri and Persian lineages continue to circulate through hands rather than archives.

Benaras, a city sustained by design rather than raw material, is known for its zari embroidery and brocade. Weaving here is also entwined with the legacy of Kabir—the anti-caste poet whose verses moved between Hindu and Islamic thought, and whose words remain embedded in everyday artisan life.

Singh works at the intersection of contemporary artistic practice and community-based embroidery and weaving in villages around Benaras. Her relationship to textile labour began early, through her mother’s boutique, a space of informal exchange where weavers gathered, talked, and worked. Language enters her practice quietly—through single-word poems such as Life Jacket or Repair, and through fragments of Kabir’s poetry, including the line, “No more I weave a garment of pain!”

During the Covid lockdown, she embroidered Life Jacket onto jute backpacks worn by workers in a wholesale vegetable market near her home—an environment marked by risk and precarity. The gesture was intimate and direct; these were the same workers connected to her family’s vegetable fields and daily routines.

Her materials are modest and often salvaged: rope, jute sacks, used sari thread, factory cloth waste, wire, and polymer textiles repurposed from cement bags. Through these, Singh attends to repair, survival, and the quiet intelligence of hands—allowing textiles to speak of care, endurance, and shared ground.

Hunger

2022

Embroidery on paper

29.92 x 21.65 in

Hunger

2022

Embroidery on paper

29.92 x 21.65 in

Hunger

2022

Embroidery on paper

29.92 x 21.65 in

Life Circle 1

2021

Beaded embroidery on paper

41.73 x 29.92 in

Life Circle 1

2021

Beaded embroidery on paper

41.73 x 29.92 in

Life Circle 1

2021

Beaded embroidery on paper

41.73 x 29.92 in

Wire and Veins

2025

Copper wire and threads

9.45 x 23.62 in

Art ID: 265

Wire and Veins

2025

Copper wire and threads

9.45 x 23.62 in

Art ID: 265

Wire and Veins

2025

Copper wire and threads

9.45 x 23.62 in

Art ID: 265

Sensitive Content

2022

Embroidery and watercolor on paper

29.92 x 21.65 in

Art ID: 482

Sensitive Content

2022

Embroidery and watercolor on paper

29.92 x 21.65 in

Art ID: 482

Sensitive Content

2022

Embroidery and watercolor on paper

29.92 x 21.65 in

Art ID: 482

Sweat Home

2022

Beaded embroidery on paper

15.75 x 11.81 in

Sweat Home

2022

Beaded embroidery on paper

15.75 x 11.81 in

Sweat Home

2022

Beaded embroidery on paper

15.75 x 11.81 in

Life of Thread II, 2 (Set of 20)

2022

Beaded embroidery on paper

15.75 x 11.81 in (each)

Life of Thread II, 2 (Set of 20)

2022

Beaded embroidery on paper

15.75 x 11.81 in (each)

Life of Thread II, 2 (Set of 20)

2022

Beaded embroidery on paper

15.75 x 11.81 in (each)

Dayananda Nagaraju

B.

1988

Mysore

Dayananda Nagaraju grew up in a farming family in Karnataka, where early exposure to agricultural life shaped a lasting sensitivity to land, labour, and rural belief systems. Witnessing farming traditions gradually transform under modern pressures continues to inform his artistic language.

His work is anchored in large, intricate drawings that mirror the dense, interwoven logic of nature. Drawing from tree knots, rice grains, paddy fields, everyday farm tools, and agrarian cosmologies, his compositions unfold as layered visual systems—at once observational and symbolic. Alongside drawing, he reworks traditional agricultural objects that have become functionally obsolete yet remain culturally resonant, extending their narratives into murals and public artworks across institutional and private spaces.

Dayananda holds a post-diploma in Painting from Karnataka Chitrakala Parishath, Bengaluru, and a Bachelor’s degree in Applied Art from Sri Kalanikethana School of Art, Mysore.

Dayananda Nagaraju

B.

1988

Mysore

Dayananda Nagaraju grew up in a farming family in Karnataka, where early exposure to agricultural life shaped a lasting sensitivity to land, labour, and rural belief systems. Witnessing farming traditions gradually transform under modern pressures continues to inform his artistic language.

His work is anchored in large, intricate drawings that mirror the dense, interwoven logic of nature. Drawing from tree knots, rice grains, paddy fields, everyday farm tools, and agrarian cosmologies, his compositions unfold as layered visual systems—at once observational and symbolic. Alongside drawing, he reworks traditional agricultural objects that have become functionally obsolete yet remain culturally resonant, extending their narratives into murals and public artworks across institutional and private spaces.

Dayananda holds a post-diploma in Painting from Karnataka Chitrakala Parishath, Bengaluru, and a Bachelor’s degree in Applied Art from Sri Kalanikethana School of Art, Mysore.

Dayananda Nagaraju

B.

1988

Mysore

Dayananda Nagaraju grew up in a farming family in Karnataka, where early exposure to agricultural life shaped a lasting sensitivity to land, labour, and rural belief systems. Witnessing farming traditions gradually transform under modern pressures continues to inform his artistic language.

His work is anchored in large, intricate drawings that mirror the dense, interwoven logic of nature. Drawing from tree knots, rice grains, paddy fields, everyday farm tools, and agrarian cosmologies, his compositions unfold as layered visual systems—at once observational and symbolic. Alongside drawing, he reworks traditional agricultural objects that have become functionally obsolete yet remain culturally resonant, extending their narratives into murals and public artworks across institutional and private spaces.

Dayananda holds a post-diploma in Painting from Karnataka Chitrakala Parishath, Bengaluru, and a Bachelor’s degree in Applied Art from Sri Kalanikethana School of Art, Mysore.

Kaggantu 21 (Unsolvable)

2025

Archival Pen on Paper

21.65 x 29.53 in

Editions:

\-

Art ID: 8

Kaggantu 21 (Unsolvable)

2025

Archival Pen on Paper

21.65 x 29.53 in

Editions:

\-

Art ID: 8

Kaggantu 21 (Unsolvable)

2025

Archival Pen on Paper

21.65 x 29.53 in

Editions:

\-

Art ID: 8

Antargata 5 (Container)

2025

Watercolor on Handmade Paper

37 x 54 in

Editions:

\-

Art ID: 24

Antargata 5 (Container)

2025

Watercolor on Handmade Paper

37 x 54 in

Editions:

\-

Art ID: 24

Antargata 5 (Container)

2025

Watercolor on Handmade Paper

37 x 54 in

Editions:

\-

Art ID: 24

Hybrid 1

2020

Pen on Paper

60 x 60 in

Editions:

\-

Art ID: 44

Hybrid 1

2020

Pen on Paper

60 x 60 in

Editions:

\-

Art ID: 44

Hybrid 1

2020

Pen on Paper

60 x 60 in

Editions:

\-

Art ID: 44

GMO 5

2021

Pen on Paper

25.59 x 19.69 in

Editions:

\-

Art ID: 91

GMO 5

2021

Pen on Paper

25.59 x 19.69 in

Editions:

\-

Art ID: 91

GMO 5

2021

Pen on Paper

25.59 x 19.69 in

Editions:

\-

Art ID: 91

The Bullman

2014

Pen and Ink on Paper

15 x 34 in

Editions:

\-

Art ID: 445

The Bullman

2014

Pen and Ink on Paper

15 x 34 in

Editions:

\-

Art ID: 445

The Bullman

2014

Pen and Ink on Paper

15 x 34 in

Editions:

\-

Art ID: 445

Feeders

2025

Iron & Nut Bolt

4×42.5 inch x 3cm

Editions:

\-

Art ID: 264

Feeders

2025

Iron & Nut Bolt

4×42.5 inch x 3cm

Editions:

\-

Art ID: 264

Feeders

2025

Iron & Nut Bolt

4×42.5 inch x 3cm

Editions:

\-

Art ID: 264

Satyaranjan Das

B.

1993

New Delhi

Satyaranjan Das is from Odisha and based in New Delhi. Trained at the College of Art, New Delhi (MFA) and B.K. College of Art & Craft, Odisha (BVA), his practice explores migration, urbanisation, and ecological change through lived experience of moving between village and city.

Working primarily with watercolour and mixed media, he incorporates materials such as palm leaf, rice paper, banana paper, handmade paper, ink, and charcoal. Drawing from Indian miniature painting and Odisha’s Patachitra and palm-leaf traditions, his narrative compositions bring organic matter into dialogue with urban traces, reflecting tensions between care and extraction, memory and development.

Satya’s work is shaped by a deep emotional connection to both rural landscapes and metropolitan life, engaging questions of displacement, cultural ecology, and environmental responsibility. Through layered surfaces and material choices, he examines how power, policy, and rapid growth reshape human relationships with the natural world, urging reflection on sustainable futures.

Satyaranjan Das

B.

1993

New Delhi

Satyaranjan Das is from Odisha and based in New Delhi. Trained at the College of Art, New Delhi (MFA) and B.K. College of Art & Craft, Odisha (BVA), his practice explores migration, urbanisation, and ecological change through lived experience of moving between village and city.

Working primarily with watercolour and mixed media, he incorporates materials such as palm leaf, rice paper, banana paper, handmade paper, ink, and charcoal. Drawing from Indian miniature painting and Odisha’s Patachitra and palm-leaf traditions, his narrative compositions bring organic matter into dialogue with urban traces, reflecting tensions between care and extraction, memory and development.

Satya’s work is shaped by a deep emotional connection to both rural landscapes and metropolitan life, engaging questions of displacement, cultural ecology, and environmental responsibility. Through layered surfaces and material choices, he examines how power, policy, and rapid growth reshape human relationships with the natural world, urging reflection on sustainable futures.

Satyaranjan Das

B.

1993

New Delhi

Satyaranjan Das is from Odisha and based in New Delhi. Trained at the College of Art, New Delhi (MFA) and B.K. College of Art & Craft, Odisha (BVA), his practice explores migration, urbanisation, and ecological change through lived experience of moving between village and city.

Working primarily with watercolour and mixed media, he incorporates materials such as palm leaf, rice paper, banana paper, handmade paper, ink, and charcoal. Drawing from Indian miniature painting and Odisha’s Patachitra and palm-leaf traditions, his narrative compositions bring organic matter into dialogue with urban traces, reflecting tensions between care and extraction, memory and development.

Satya’s work is shaped by a deep emotional connection to both rural landscapes and metropolitan life, engaging questions of displacement, cultural ecology, and environmental responsibility. Through layered surfaces and material choices, he examines how power, policy, and rapid growth reshape human relationships with the natural world, urging reflection on sustainable futures.

The Plantation Drive

2025

Watercolour, Graphite, Clay, Charcoal, Ink on Canson and Board

84 × 48 in

Editions:

NA

The Plantation Drive

2025

Watercolour, Graphite, Clay, Charcoal, Ink on Canson and Board

84 × 48 in

Editions:

NA

The Plantation Drive

2025

Watercolour, Graphite, Clay, Charcoal, Ink on Canson and Board

84 × 48 in

Editions:

NA

The Armyworm

2025

Watercolour, Jute Fabric, Paddy, Graphite, Rice Paper on Canvas

48 × 72 in

Editions:

NA

Art ID: 181

The Armyworm

2025

Watercolour, Jute Fabric, Paddy, Graphite, Rice Paper on Canvas

48 × 72 in

Editions:

NA

Art ID: 181

The Armyworm

2025

Watercolour, Jute Fabric, Paddy, Graphite, Rice Paper on Canvas

48 × 72 in

Editions:

NA

Art ID: 181

Displacement II, 1 (Set of 25)

2023

Watercolour, Ink, Graphite, Rice Paper on Canson Paper

8.3 × 5.8 in (each)

Editions:

NA

Art ID: 349

Displacement II, 1 (Set of 25)

2023

Watercolour, Ink, Graphite, Rice Paper on Canson Paper

8.3 × 5.8 in (each)

Editions:

NA

Art ID: 349

Displacement II, 1 (Set of 25)

2023

Watercolour, Ink, Graphite, Rice Paper on Canson Paper

8.3 × 5.8 in (each)

Editions:

NA

Art ID: 349

Encroached Corners

2025

Watercolour, Charcoal, Graphite, Jute Cloth, Bricks Powder, Rice Paper on Canvas

72 in (diameter)

Editions:

NA

Art ID: 95

Encroached Corners

2025

Watercolour, Charcoal, Graphite, Jute Cloth, Bricks Powder, Rice Paper on Canvas

72 in (diameter)

Editions:

NA

Art ID: 95

Encroached Corners

2025

Watercolour, Charcoal, Graphite, Jute Cloth, Bricks Powder, Rice Paper on Canvas

72 in (diameter)

Editions:

NA

Art ID: 95

Towards the City I

2025

Watercolour, sand, map, and rice paper on Carson and board

18 × 14 in

Editions:

NA

Art ID: 508

Towards the City I

2025

Watercolour, sand, map, and rice paper on Carson and board

18 × 14 in

Editions:

NA

Art ID: 508

Towards the City I

2025

Watercolour, sand, map, and rice paper on Carson and board

18 × 14 in

Editions:

NA

Art ID: 508

Unoccupied Area

2024

Watercolour, Clay, Charcoal, Graphite, Map Paper on Paper and Board

48 × 72 in

Editions:

NA

Unoccupied Area

2024

Watercolour, Clay, Charcoal, Graphite, Map Paper on Paper and Board

48 × 72 in

Editions:

NA

Unoccupied Area

2024

Watercolour, Clay, Charcoal, Graphite, Map Paper on Paper and Board

48 × 72 in

Editions:

NA

Anup Let

B.

1992

New Delhi

Anup Let is a visual artist from Mallarpur Mofswal in the Birbhum district of West Bengal and now based in New Delhi. Trained in printmaking, he completed his postgraduate studies in Fine Arts at Kala Bhavana, Santiniketan. Growing up between rural and urban environments, his practice is shaped by lived negotiations between place, identity, and social visibility.

Anup’s ongoing practice is developed around the idea of the “queer landscape”—a way of reading social, emotional, and political terrains formed through everyday perceptions of queer identity within local communities. Rooted in West Bengal, particularly Mallarpur, this approach views landscape not as a physical site alone, but as a layered social field where memory, curiosity, resistance, and belonging intersect.

His work grows through close engagement with local life, where art becomes a space for shared learning and exchange. Moving between observation and participation, Anup’s practice blends aesthetic inquiry with lived social realities.

Anup Let

B.

1992

New Delhi

Anup Let is a visual artist from Mallarpur Mofswal in the Birbhum district of West Bengal and now based in New Delhi. Trained in printmaking, he completed his postgraduate studies in Fine Arts at Kala Bhavana, Santiniketan. Growing up between rural and urban environments, his practice is shaped by lived negotiations between place, identity, and social visibility.

Anup’s ongoing practice is developed around the idea of the “queer landscape”—a way of reading social, emotional, and political terrains formed through everyday perceptions of queer identity within local communities. Rooted in West Bengal, particularly Mallarpur, this approach views landscape not as a physical site alone, but as a layered social field where memory, curiosity, resistance, and belonging intersect.

His work grows through close engagement with local life, where art becomes a space for shared learning and exchange. Moving between observation and participation, Anup’s practice blends aesthetic inquiry with lived social realities.

Anup Let

B.

1992

New Delhi

Anup Let is a visual artist from Mallarpur Mofswal in the Birbhum district of West Bengal and now based in New Delhi. Trained in printmaking, he completed his postgraduate studies in Fine Arts at Kala Bhavana, Santiniketan. Growing up between rural and urban environments, his practice is shaped by lived negotiations between place, identity, and social visibility.

Anup’s ongoing practice is developed around the idea of the “queer landscape”—a way of reading social, emotional, and political terrains formed through everyday perceptions of queer identity within local communities. Rooted in West Bengal, particularly Mallarpur, this approach views landscape not as a physical site alone, but as a layered social field where memory, curiosity, resistance, and belonging intersect.

His work grows through close engagement with local life, where art becomes a space for shared learning and exchange. Moving between observation and participation, Anup’s practice blends aesthetic inquiry with lived social realities.

Fluid Landscape

2025

Acrylic on Arches Paper

60 x 48 in

Editions:

N/A

Fluid Landscape

2025

Acrylic on Arches Paper

60 x 48 in

Editions:

N/A

Fluid Landscape

2025

Acrylic on Arches Paper

60 x 48 in

Editions:

N/A

The journey begins...

2025

Acrylic, Pen on Arches paper

60 x 48 in

Editions:

N/A

Art ID: 451

The journey begins...

2025

Acrylic, Pen on Arches paper

60 x 48 in

Editions:

N/A

Art ID: 451

The journey begins...

2025

Acrylic, Pen on Arches paper

60 x 48 in

Editions:

N/A

Art ID: 451

Layers of Meaning - 1

2025

Cloth, Ink, and Stitch

84 x 36 in

Layers of Meaning - 1

2025

Cloth, Ink, and Stitch

84 x 36 in

Layers of Meaning - 1

2025

Cloth, Ink, and Stitch

84 x 36 in

Untitled - 1

2023

Acrylic, Watercolour, Ink, with Old Clock on Paper

14 x 14 in

Art ID: 459

Untitled - 1

2023

Acrylic, Watercolour, Ink, with Old Clock on Paper

14 x 14 in

Art ID: 459

Untitled - 1

2023

Acrylic, Watercolour, Ink, with Old Clock on Paper

14 x 14 in

Art ID: 459

Smell

2025

Acrylic & Ink on Paper

10 x 8 in

Art ID: 254

Smell

2025

Acrylic & Ink on Paper

10 x 8 in

Art ID: 254

Smell

2025

Acrylic & Ink on Paper

10 x 8 in

Art ID: 254

Responsibility

2021

Acrylic on Paper

20 x 12 in

Art ID: 507

Responsibility

2021

Acrylic on Paper

20 x 12 in

Art ID: 507

Responsibility

2021

Acrylic on Paper

20 x 12 in

Art ID: 507

Varnita Sethi

B.

1987

Gurugram

Varnita Sethi is a Delhi-based mixed-media artist whose practice moves fluidly across painting, sculpture, photography, sewing, installation, and digital collage. Rooted in a childhood fascination with raw forms and shaped by the colour and chaos of urban life, her work brings together instinct, memory, and material play. Drawing inspiration from everyday experiences, personal histories, and found objects sourced from flea markets and antique spaces, she treats collecting as both a meditative process and a form of inheritance. 

Her works are intimate and celebratory, often transforming moments of vulnerability—body image, gender, shame, desire, and social scrutiny—into humour, tenderness, and quiet resistance. Through this deeply personal lens, she explores the intersections of body, identity, femininity, and belonging, allowing the banal and the bizarre of daily life to coexist with emotional intensity. She has exhibited in India and internationally, had her first solo exhibition in 2018, participated in residencies including Bosco in collaboration with Artreach India and the Kiran Nadar Museum of Art, and has published zines featured by Gucci’s Chime Zine and at the Taiwan Art Salon.

Varnita Sethi

B.

1987

Gurugram

Varnita Sethi is a Delhi-based mixed-media artist whose practice moves fluidly across painting, sculpture, photography, sewing, installation, and digital collage. Rooted in a childhood fascination with raw forms and shaped by the colour and chaos of urban life, her work brings together instinct, memory, and material play. Drawing inspiration from everyday experiences, personal histories, and found objects sourced from flea markets and antique spaces, she treats collecting as both a meditative process and a form of inheritance. 

Her works are intimate and celebratory, often transforming moments of vulnerability—body image, gender, shame, desire, and social scrutiny—into humour, tenderness, and quiet resistance. Through this deeply personal lens, she explores the intersections of body, identity, femininity, and belonging, allowing the banal and the bizarre of daily life to coexist with emotional intensity. She has exhibited in India and internationally, had her first solo exhibition in 2018, participated in residencies including Bosco in collaboration with Artreach India and the Kiran Nadar Museum of Art, and has published zines featured by Gucci’s Chime Zine and at the Taiwan Art Salon.

Varnita Sethi

B.

1987

Gurugram

Varnita Sethi is a Delhi-based mixed-media artist whose practice moves fluidly across painting, sculpture, photography, sewing, installation, and digital collage. Rooted in a childhood fascination with raw forms and shaped by the colour and chaos of urban life, her work brings together instinct, memory, and material play. Drawing inspiration from everyday experiences, personal histories, and found objects sourced from flea markets and antique spaces, she treats collecting as both a meditative process and a form of inheritance. 

Her works are intimate and celebratory, often transforming moments of vulnerability—body image, gender, shame, desire, and social scrutiny—into humour, tenderness, and quiet resistance. Through this deeply personal lens, she explores the intersections of body, identity, femininity, and belonging, allowing the banal and the bizarre of daily life to coexist with emotional intensity. She has exhibited in India and internationally, had her first solo exhibition in 2018, participated in residencies including Bosco in collaboration with Artreach India and the Kiran Nadar Museum of Art, and has published zines featured by Gucci’s Chime Zine and at the Taiwan Art Salon.

Where We Meet the Night

2025

Embroidery Patch, Stones, Jewellery Piece, Skull Beads, and Acrylic on Linen Canvas

66.14 × 48.03 in

Editions:

None

Art ID: 492

Where We Meet the Night

2025

Embroidery Patch, Stones, Jewellery Piece, Skull Beads, and Acrylic on Linen Canvas

66.14 × 48.03 in

Editions:

None

Art ID: 492

Where We Meet the Night

2025

Embroidery Patch, Stones, Jewellery Piece, Skull Beads, and Acrylic on Linen Canvas

66.14 × 48.03 in

Editions:

None

Art ID: 492

Me and My Lovers

2025

Acrylic, Embroidery Patch, and Paper on Canvas

120 × 90 in

Editions:

Art ID: 43

Me and My Lovers

2025

Acrylic, Embroidery Patch, and Paper on Canvas

120 × 90 in

Editions:

Art ID: 43

Me and My Lovers

2025

Acrylic, Embroidery Patch, and Paper on Canvas

120 × 90 in

Editions:

Art ID: 43

Phallus Totem (Curiosity Cabinet)

2022

Wood, Brass, Metal, Skull Beads, and Acrylic

15 × 8 × 6 in

Phallus Totem (Curiosity Cabinet)

2022

Wood, Brass, Metal, Skull Beads, and Acrylic

15 × 8 × 6 in

Phallus Totem (Curiosity Cabinet)

2022

Wood, Brass, Metal, Skull Beads, and Acrylic

15 × 8 × 6 in

This Is Not a Goddess - That's Me

2023

Acrylic, Kowri Shells, Embroidery Patch, Mirrors, Skull Bead, Beads, Coral, and Bamboo Weaving on Board

96 × 42 in

Art ID: 300

This Is Not a Goddess - That's Me

2023

Acrylic, Kowri Shells, Embroidery Patch, Mirrors, Skull Bead, Beads, Coral, and Bamboo Weaving on Board

96 × 42 in

Art ID: 300

This Is Not a Goddess - That's Me

2023

Acrylic, Kowri Shells, Embroidery Patch, Mirrors, Skull Bead, Beads, Coral, and Bamboo Weaving on Board

96 × 42 in

Art ID: 300

Theatre of Memory

2025

Assemblage on Wooden Printer’s Tray

11.02 × 12 × 2.91 in

Editions:

None

Art ID: 284

Theatre of Memory

2025

Assemblage on Wooden Printer’s Tray

11.02 × 12 × 2.91 in

Editions:

None

Art ID: 284

Theatre of Memory

2025

Assemblage on Wooden Printer’s Tray

11.02 × 12 × 2.91 in

Editions:

None

Art ID: 284

I Want to Taste You Again Like a Secret or a Sin

2022

Acrylic on Canvas

18 × 24 in

I Want to Taste You Again Like a Secret or a Sin

2022

Acrylic on Canvas

18 × 24 in

I Want to Taste You Again Like a Secret or a Sin

2022

Acrylic on Canvas

18 × 24 in

Tapan Moharana

B.

1989

Bhubaneswar

Tapan Moharana is a multidisciplinary artist based in Odisha. His practice engages questions of land, displacement, and the politics of ecology. Trained in sculpture (MFA, Rabindra Bharati University, Kolkata), his work draws deeply from local and indigenous visual traditions, particularly shadow puppetry forms such as Ravana Chhaya. Working with light, shadow, and handcrafted structures, Tapan brings together inherited techniques and experimental processes shaped through collaboration and shared making. Across installations and visual works, his practice reflects on memory, movement, and the shifting relationship between land, tradition, and contemporary life. He has exhibited widely in India and internationally, including a solo exhibition The Cube in Perth, and is a recipient of the Inlaks Fine Art Award.

Tapan Moharana

B.

1989

Bhubaneswar

Tapan Moharana is a multidisciplinary artist based in Odisha. His practice engages questions of land, displacement, and the politics of ecology. Trained in sculpture (MFA, Rabindra Bharati University, Kolkata), his work draws deeply from local and indigenous visual traditions, particularly shadow puppetry forms such as Ravana Chhaya. Working with light, shadow, and handcrafted structures, Tapan brings together inherited techniques and experimental processes shaped through collaboration and shared making. Across installations and visual works, his practice reflects on memory, movement, and the shifting relationship between land, tradition, and contemporary life. He has exhibited widely in India and internationally, including a solo exhibition The Cube in Perth, and is a recipient of the Inlaks Fine Art Award.

Tapan Moharana

B.

1989

Bhubaneswar

Tapan Moharana is a multidisciplinary artist based in Odisha. His practice engages questions of land, displacement, and the politics of ecology. Trained in sculpture (MFA, Rabindra Bharati University, Kolkata), his work draws deeply from local and indigenous visual traditions, particularly shadow puppetry forms such as Ravana Chhaya. Working with light, shadow, and handcrafted structures, Tapan brings together inherited techniques and experimental processes shaped through collaboration and shared making. Across installations and visual works, his practice reflects on memory, movement, and the shifting relationship between land, tradition, and contemporary life. He has exhibited widely in India and internationally, including a solo exhibition The Cube in Perth, and is a recipient of the Inlaks Fine Art Award.

Andhi 1

2022

Graphite on Paper

17.72 x 9.84 in

Art ID: 54

Andhi 1

2022

Graphite on Paper

17.72 x 9.84 in

Art ID: 54

Andhi 1

2022

Graphite on Paper

17.72 x 9.84 in

Art ID: 54

Faces of Known 1 (2 pieces)

2025

Terracotta

11.81 × 4.72 × 3.94 in

Art ID: 470, 471

Faces of Known 1 (2 pieces)

2025

Terracotta

11.81 × 4.72 × 3.94 in

Art ID: 470, 471

Faces of Known 1 (2 pieces)

2025

Terracotta

11.81 × 4.72 × 3.94 in

Art ID: 470, 471

Night at Chandaka 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 63

Night at Chandaka 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 63

Night at Chandaka 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 63

Crowd 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 58

Crowd 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 58

Crowd 1

2020

Mixed Media on Paper

8.66 x 11.81 in

Art ID: 58

Mushroom Rock

2024

Teak Wood

3.15 × 17.72 in

Art ID: 186

Mushroom Rock

2024

Teak Wood

3.15 × 17.72 in

Art ID: 186

Mushroom Rock

2024

Teak Wood

3.15 × 17.72 in

Art ID: 186

Theatre of Black

2024

Ink with Teak Wood

2.36 × 13.78 in

ID: 195

Theatre of Black

2024

Ink with Teak Wood

2.36 × 13.78 in

ID: 195

Theatre of Black

2024

Ink with Teak Wood

2.36 × 13.78 in

ID: 195

Pankaj Vishwakarma

B.

1986

Baroda, Gujarat

Pankaj Vishwakarma is a Vadodara-based artist whose practice emerges from a life shaped by migration, labour, and industrial landscapes. Trained in Painting and Printmaking at the Faculty of Fine Arts, M.S. University of Baroda, where he received a Gold Medal in Printmaking, his work is grounded in lived experiences of growing up within a migrant working-class community.

Moving between rural Azamgarh and the industrial town of Ankaleshwar, Vishwakarma’s works reflect on questions of belonging, displacement, and the politics embedded in everyday material life. He works with industrial and utilitarian materials such as enamel and wall paints, cardboard, aluminium, foil, lights, and packaging, materials drawn directly from sites of labour and circulation. While his works often take the form of paintings, prints, and installations, they quietly unsettle the disciplinary boundaries and value systems that define art as an elite object.

Rather than illustrating social realities, Vishwakarma embeds politics within the very processes and materials of making. His practice privileges material presence and physicality, allowing ordinary surfaces to carry histories of movement, work, and negotiation. Through this approach, his work proposes art as a site where lived experience, material culture, and ideology intersect, without spectacle, but with insistence.

Pankaj Vishwakarma

B.

1986

Baroda, Gujarat

Pankaj Vishwakarma is a Vadodara-based artist whose practice emerges from a life shaped by migration, labour, and industrial landscapes. Trained in Painting and Printmaking at the Faculty of Fine Arts, M.S. University of Baroda, where he received a Gold Medal in Printmaking, his work is grounded in lived experiences of growing up within a migrant working-class community.

Moving between rural Azamgarh and the industrial town of Ankaleshwar, Vishwakarma’s works reflect on questions of belonging, displacement, and the politics embedded in everyday material life. He works with industrial and utilitarian materials such as enamel and wall paints, cardboard, aluminium, foil, lights, and packaging, materials drawn directly from sites of labour and circulation. While his works often take the form of paintings, prints, and installations, they quietly unsettle the disciplinary boundaries and value systems that define art as an elite object.

Rather than illustrating social realities, Vishwakarma embeds politics within the very processes and materials of making. His practice privileges material presence and physicality, allowing ordinary surfaces to carry histories of movement, work, and negotiation. Through this approach, his work proposes art as a site where lived experience, material culture, and ideology intersect, without spectacle, but with insistence.

Pankaj Vishwakarma

B.

1986

Baroda, Gujarat

Pankaj Vishwakarma is a Vadodara-based artist whose practice emerges from a life shaped by migration, labour, and industrial landscapes. Trained in Painting and Printmaking at the Faculty of Fine Arts, M.S. University of Baroda, where he received a Gold Medal in Printmaking, his work is grounded in lived experiences of growing up within a migrant working-class community.

Moving between rural Azamgarh and the industrial town of Ankaleshwar, Vishwakarma’s works reflect on questions of belonging, displacement, and the politics embedded in everyday material life. He works with industrial and utilitarian materials such as enamel and wall paints, cardboard, aluminium, foil, lights, and packaging, materials drawn directly from sites of labour and circulation. While his works often take the form of paintings, prints, and installations, they quietly unsettle the disciplinary boundaries and value systems that define art as an elite object.

Rather than illustrating social realities, Vishwakarma embeds politics within the very processes and materials of making. His practice privileges material presence and physicality, allowing ordinary surfaces to carry histories of movement, work, and negotiation. Through this approach, his work proposes art as a site where lived experience, material culture, and ideology intersect, without spectacle, but with insistence.

Entropy 2

2025

Enamel, Automotive Paint, Foil and Varnish on Canvas

96 x 51 in

Art ID: 514

Entropy 2

2025

Enamel, Automotive Paint, Foil and Varnish on Canvas

96 x 51 in

Art ID: 514

Entropy 2

2025

Enamel, Automotive Paint, Foil and Varnish on Canvas

96 x 51 in

Art ID: 514

Fragments 3 (Set of 7)

2025

Enamel Paint on Waterproof Plywood

Variable

Art ID: 428, 430, 561, 562, 563, 564, 565

Fragments 3 (Set of 7)

2025

Enamel Paint on Waterproof Plywood

Variable

Art ID: 428, 430, 561, 562, 563, 564, 565

Fragments 3 (Set of 7)

2025

Enamel Paint on Waterproof Plywood

Variable

Art ID: 428, 430, 561, 562, 563, 564, 565

Lab

2015

Enamel Paint on Glass

18 x 108 in

Lab

2015

Enamel Paint on Glass

18 x 108 in

Lab

2015

Enamel Paint on Glass

18 x 108 in

New Terrain 4 (Diptych)

2024

Automotive Paint on Canvas

96 × 48 in (Diptych; 2 Panels, Each 48 × 48 in; Displayed Side by Side)

Art ID: 468, 469

New Terrain 4 (Diptych)

2024

Automotive Paint on Canvas

96 × 48 in (Diptych; 2 Panels, Each 48 × 48 in; Displayed Side by Side)

Art ID: 468, 469

New Terrain 4 (Diptych)

2024

Automotive Paint on Canvas

96 × 48 in (Diptych; 2 Panels, Each 48 × 48 in; Displayed Side by Side)

Art ID: 468, 469

Reclaimed Radiance 1

2023-24

Rejected Aluminum Cans

72 x 108 in (6 parts assembled)

Reclaimed Radiance 1

2023-24

Rejected Aluminum Cans

72 x 108 in (6 parts assembled)

Reclaimed Radiance 1

2023-24

Rejected Aluminum Cans

72 x 108 in (6 parts assembled)

Colour of Land 2

2022

Collected Residue of Wall Paint, Lime Powder, Stainer and Resin on Wood

12.6 x 12.6 in (each)

Colour of Land 2

2022

Collected Residue of Wall Paint, Lime Powder, Stainer and Resin on Wood

12.6 x 12.6 in (each)

Colour of Land 2

2022

Collected Residue of Wall Paint, Lime Powder, Stainer and Resin on Wood

12.6 x 12.6 in (each)

Gopa Roy

B.

1990

New Delhi

Gopa Roy is a visual artist from Tripura, India, currently based in New Delhi. Her practice is deeply shaped by the landscapes, agrarian life, and cultural ecology of her home region, particularly the villages along the Indo–Bangladesh border. Working across drawing, paper-making, found objects, land art, and site-specific installations, Gopa draws from field surveys, photography, and lived observation to explore evolving landscapes, agriculture, ecological fragility, and the everyday lives of farmers.

Growing up in an agricultural family, her engagement with land is both intimate and experiential. Farming practices, seasonal rhythms, and the quiet labour of rural communities recur as central motifs in her work. Living close to a geopolitical border subtly informs her visual language—the border appearing less as a fixed line and more as a shifting borderland, where resilience, restriction, and adaptation coexist. Rather than overt political commentary, her work reflects how political boundaries permeate daily life, shaping movement, memory, and survival.

Recent works respond to severe flooding in Tripura, where prolonged rains devastated paddy fields and displaced thousands of farming families. Through sculptural forms and a narrative artist book, Gopa traces the emotional and material toll of this loss. Using fragile, organic materials such as tissue-paper pulp, straw pulp, natural fibres, jute, and ink, she mirrors the precarity of lives dependent on the land. Alongside her studio practice, she is actively engaged in community-based art initiatives in her ancestral village, working to preserve local memories and lived histories shaped by ecology and the border.

Gopa Roy

B.

1990

New Delhi

Gopa Roy is a visual artist from Tripura, India, currently based in New Delhi. Her practice is deeply shaped by the landscapes, agrarian life, and cultural ecology of her home region, particularly the villages along the Indo–Bangladesh border. Working across drawing, paper-making, found objects, land art, and site-specific installations, Gopa draws from field surveys, photography, and lived observation to explore evolving landscapes, agriculture, ecological fragility, and the everyday lives of farmers.

Growing up in an agricultural family, her engagement with land is both intimate and experiential. Farming practices, seasonal rhythms, and the quiet labour of rural communities recur as central motifs in her work. Living close to a geopolitical border subtly informs her visual language—the border appearing less as a fixed line and more as a shifting borderland, where resilience, restriction, and adaptation coexist. Rather than overt political commentary, her work reflects how political boundaries permeate daily life, shaping movement, memory, and survival.

Recent works respond to severe flooding in Tripura, where prolonged rains devastated paddy fields and displaced thousands of farming families. Through sculptural forms and a narrative artist book, Gopa traces the emotional and material toll of this loss. Using fragile, organic materials such as tissue-paper pulp, straw pulp, natural fibres, jute, and ink, she mirrors the precarity of lives dependent on the land. Alongside her studio practice, she is actively engaged in community-based art initiatives in her ancestral village, working to preserve local memories and lived histories shaped by ecology and the border.

Gopa Roy

B.

1990

New Delhi

Gopa Roy is a visual artist from Tripura, India, currently based in New Delhi. Her practice is deeply shaped by the landscapes, agrarian life, and cultural ecology of her home region, particularly the villages along the Indo–Bangladesh border. Working across drawing, paper-making, found objects, land art, and site-specific installations, Gopa draws from field surveys, photography, and lived observation to explore evolving landscapes, agriculture, ecological fragility, and the everyday lives of farmers.

Growing up in an agricultural family, her engagement with land is both intimate and experiential. Farming practices, seasonal rhythms, and the quiet labour of rural communities recur as central motifs in her work. Living close to a geopolitical border subtly informs her visual language—the border appearing less as a fixed line and more as a shifting borderland, where resilience, restriction, and adaptation coexist. Rather than overt political commentary, her work reflects how political boundaries permeate daily life, shaping movement, memory, and survival.

Recent works respond to severe flooding in Tripura, where prolonged rains devastated paddy fields and displaced thousands of farming families. Through sculptural forms and a narrative artist book, Gopa traces the emotional and material toll of this loss. Using fragile, organic materials such as tissue-paper pulp, straw pulp, natural fibres, jute, and ink, she mirrors the precarity of lives dependent on the land. Alongside her studio practice, she is actively engaged in community-based art initiatives in her ancestral village, working to preserve local memories and lived histories shaped by ecology and the border.

Wild Turmeric (6 Pages, 12 Sides)

2025

Pulp of Sugarcane, Rice Hay, Paper Pulp, Coconut Fibers, Thread, Sanguine Powder, Pen and Ink

Display Book: 10.5 × 17 in

Editions:

None

Art ID: 486

Wild Turmeric (6 Pages, 12 Sides)

2025

Pulp of Sugarcane, Rice Hay, Paper Pulp, Coconut Fibers, Thread, Sanguine Powder, Pen and Ink

Display Book: 10.5 × 17 in

Editions:

None

Art ID: 486

Wild Turmeric (6 Pages, 12 Sides)

2025

Pulp of Sugarcane, Rice Hay, Paper Pulp, Coconut Fibers, Thread, Sanguine Powder, Pen and Ink

Display Book: 10.5 × 17 in

Editions:

None

Art ID: 486

Untitled, 3 (Drawing – Set of 20)

2022

Pen and Ink on Acid-Free Paper

74 x 33 in (set of 20)

Editions:

None

Untitled, 3 (Drawing – Set of 20)

2022

Pen and Ink on Acid-Free Paper

74 x 33 in (set of 20)

Editions:

None

Untitled, 3 (Drawing – Set of 20)

2022

Pen and Ink on Acid-Free Paper

74 x 33 in (set of 20)

Editions:

None

WHERE WILL WE GO? WHERE WILL WE STAY II (Set 2 with 5 works)

2025

Pulp of Wheat, Natural Objects, Pen and Ink on Ply Board

11.42 × 7.48 in (Set of 5)

Editions:

None

WHERE WILL WE GO? WHERE WILL WE STAY II (Set 2 with 5 works)

2025

Pulp of Wheat, Natural Objects, Pen and Ink on Ply Board

11.42 × 7.48 in (Set of 5)

Editions:

None

WHERE WILL WE GO? WHERE WILL WE STAY II (Set 2 with 5 works)

2025

Pulp of Wheat, Natural Objects, Pen and Ink on Ply Board

11.42 × 7.48 in (Set of 5)

Editions:

None

Untold V, 1 (Set of 18)

2023

Straw Pulp, Tea Leaf, GI Wire, Bandage, Iron Dust, Natural Fibers, Ink, and Watercolour

14 × 14 in

Editions:

None

Untold V, 1 (Set of 18)

2023

Straw Pulp, Tea Leaf, GI Wire, Bandage, Iron Dust, Natural Fibers, Ink, and Watercolour

14 × 14 in

Editions:

None

Untold V, 1 (Set of 18)

2023

Straw Pulp, Tea Leaf, GI Wire, Bandage, Iron Dust, Natural Fibers, Ink, and Watercolour

14 × 14 in

Editions:

None

Red Land (6 Pages, 12 Sides)

2025

Pulp of Wheat, Bark, Red Soil, Natural Fibers, Pen and Ink, Bound with Wooden Strips

Closed Book: 10.5 × 8.5 × 2 in

Editions:

None

Art ID: 297

Red Land (6 Pages, 12 Sides)

2025

Pulp of Wheat, Bark, Red Soil, Natural Fibers, Pen and Ink, Bound with Wooden Strips

Closed Book: 10.5 × 8.5 × 2 in

Editions:

None

Art ID: 297

Red Land (6 Pages, 12 Sides)

2025

Pulp of Wheat, Bark, Red Soil, Natural Fibers, Pen and Ink, Bound with Wooden Strips

Closed Book: 10.5 × 8.5 × 2 in

Editions:

None

Art ID: 297

Echoes of Consciousness IV

2024

Straw Pulp, Paper Pulp, White Cement, GI Wire, Jute, Thread, Natural Objects, and Ink

33 × 33 × 9 in

Editions:

None

Echoes of Consciousness IV

2024

Straw Pulp, Paper Pulp, White Cement, GI Wire, Jute, Thread, Natural Objects, and Ink

33 × 33 × 9 in

Editions:

None

Echoes of Consciousness IV

2024

Straw Pulp, Paper Pulp, White Cement, GI Wire, Jute, Thread, Natural Objects, and Ink

33 × 33 × 9 in

Editions:

None

Abin Sreedharan

B.

1990

Baroda, Gujarat

Abin Sreedharan K. P. lives and works between Baroda and Kerala. He holds a Bachelor’s degree in Sociology from University of Calicut, a BFA in Sculpture from the College of Fine Arts, Thiruvananthapuram, and an MFA from the Sarojini Naidu School of Arts and Communication, University of Hyderabad. In 2023, he was an artist-in-residence at Gasworks.

Working across sculpture, painting, and installation, his practice employs found objects, archival material, news imagery, and photographs to construct imagined, often animalistic forms. These forms draw from the visual language of historical and contemporary measuring instruments, reflecting on systems that classify, quantify, and regulate bodies. His work emerges from an acute awareness of how individuals—particularly those from subaltern and marginalised positions—are persistently measured and interpreted within social and cultural frameworks. Engaging with both the spoken and unspoken codes of Indian visual language, he examines the tensions between visibility, prejudice, and identity. Through artistic transformation, his practice becomes an ongoing effort to reclaim erased narratives: moving from the intimacy of home, through the lens of race and social categorisation, and back again, imagining the possibility of a more equitable, if utopian, horizon.

Abin Sreedharan

B.

1990

Baroda, Gujarat

Abin Sreedharan K. P. lives and works between Baroda and Kerala. He holds a Bachelor’s degree in Sociology from University of Calicut, a BFA in Sculpture from the College of Fine Arts, Thiruvananthapuram, and an MFA from the Sarojini Naidu School of Arts and Communication, University of Hyderabad. In 2023, he was an artist-in-residence at Gasworks.

Working across sculpture, painting, and installation, his practice employs found objects, archival material, news imagery, and photographs to construct imagined, often animalistic forms. These forms draw from the visual language of historical and contemporary measuring instruments, reflecting on systems that classify, quantify, and regulate bodies. His work emerges from an acute awareness of how individuals—particularly those from subaltern and marginalised positions—are persistently measured and interpreted within social and cultural frameworks. Engaging with both the spoken and unspoken codes of Indian visual language, he examines the tensions between visibility, prejudice, and identity. Through artistic transformation, his practice becomes an ongoing effort to reclaim erased narratives: moving from the intimacy of home, through the lens of race and social categorisation, and back again, imagining the possibility of a more equitable, if utopian, horizon.

Abin Sreedharan

B.

1990

Baroda, Gujarat

Abin Sreedharan K. P. lives and works between Baroda and Kerala. He holds a Bachelor’s degree in Sociology from University of Calicut, a BFA in Sculpture from the College of Fine Arts, Thiruvananthapuram, and an MFA from the Sarojini Naidu School of Arts and Communication, University of Hyderabad. In 2023, he was an artist-in-residence at Gasworks.

Working across sculpture, painting, and installation, his practice employs found objects, archival material, news imagery, and photographs to construct imagined, often animalistic forms. These forms draw from the visual language of historical and contemporary measuring instruments, reflecting on systems that classify, quantify, and regulate bodies. His work emerges from an acute awareness of how individuals—particularly those from subaltern and marginalised positions—are persistently measured and interpreted within social and cultural frameworks. Engaging with both the spoken and unspoken codes of Indian visual language, he examines the tensions between visibility, prejudice, and identity. Through artistic transformation, his practice becomes an ongoing effort to reclaim erased narratives: moving from the intimacy of home, through the lens of race and social categorisation, and back again, imagining the possibility of a more equitable, if utopian, horizon.

Untitled

2025

Graphite on Paper

15 x 22 in

Untitled

2025

Graphite on Paper

15 x 22 in

Untitled

2025

Graphite on Paper

15 x 22 in

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 505

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 505

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 505

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 230

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 230

Untitled

2023

Graphite on Paper

22.24 x 29.92 in

Art ID: 230

Untitled

2022

Watercolour on Paper

5.91 × 8.27 in

Art ID: 76

Untitled

2022

Watercolour on Paper

5.91 × 8.27 in

Art ID: 76

Untitled

2022

Watercolour on Paper

5.91 × 8.27 in

Art ID: 76

Untitled

2024

Graphite on Paper

22.24 x 29.92 in

Untitled

2024

Graphite on Paper

22.24 x 29.92 in

Untitled

2024

Graphite on Paper

22.24 x 29.92 in

Untitled

2025

Acrylic on Canvas

30 × 48 in

Art ID: 515

Untitled

2025

Acrylic on Canvas

30 × 48 in

Art ID: 515

Untitled

2025

Acrylic on Canvas

30 × 48 in

Art ID: 515

Oliva Saha

B.

1998

Hooghly

Oliva Saha lives and works in Kolkata. She completed her MVA in Painting from the Faculty of Fine Arts, MSU Baroda (2023), and her BFA from the Indian College of Arts and Draftsmanship, Rabindra-Bharati University. Her practice unfolds as an intimate visual journal, drawing from personal memory, womanhood, and the slow transitions between childhood and adulthood. Through fragile materials and layered processes—staining, washing, erasing, and reworking—she reflects on escape, vulnerability, desire, anxiety, and self-reflection.

Working primarily with paper, watercolour, tea stains, natural pigments, indigo, and alta, Saha treats the surface as both skin and archive. Recurring forms—wilted flowers, insects, domestic objects, and childhood motifs—appear as emotional residues rather than literal symbols. The use of alta, in particular, recalls memories of women in her family and gestures toward traditions that are fading yet persist quietly. Her works function as autobiographical fragments: layered, partially concealed, and emotionally charged, offering tender reflections on growing up as a woman in a middle-class Indian household, where memory, fantasy, and lived experience remain deeply intertwined.

Oliva Saha

B.

1998

Hooghly

Oliva Saha lives and works in Kolkata. She completed her MVA in Painting from the Faculty of Fine Arts, MSU Baroda (2023), and her BFA from the Indian College of Arts and Draftsmanship, Rabindra-Bharati University. Her practice unfolds as an intimate visual journal, drawing from personal memory, womanhood, and the slow transitions between childhood and adulthood. Through fragile materials and layered processes—staining, washing, erasing, and reworking—she reflects on escape, vulnerability, desire, anxiety, and self-reflection.

Working primarily with paper, watercolour, tea stains, natural pigments, indigo, and alta, Saha treats the surface as both skin and archive. Recurring forms—wilted flowers, insects, domestic objects, and childhood motifs—appear as emotional residues rather than literal symbols. The use of alta, in particular, recalls memories of women in her family and gestures toward traditions that are fading yet persist quietly. Her works function as autobiographical fragments: layered, partially concealed, and emotionally charged, offering tender reflections on growing up as a woman in a middle-class Indian household, where memory, fantasy, and lived experience remain deeply intertwined.

Oliva Saha

B.

1998

Hooghly

Oliva Saha lives and works in Kolkata. She completed her MVA in Painting from the Faculty of Fine Arts, MSU Baroda (2023), and her BFA from the Indian College of Arts and Draftsmanship, Rabindra-Bharati University. Her practice unfolds as an intimate visual journal, drawing from personal memory, womanhood, and the slow transitions between childhood and adulthood. Through fragile materials and layered processes—staining, washing, erasing, and reworking—she reflects on escape, vulnerability, desire, anxiety, and self-reflection.

Working primarily with paper, watercolour, tea stains, natural pigments, indigo, and alta, Saha treats the surface as both skin and archive. Recurring forms—wilted flowers, insects, domestic objects, and childhood motifs—appear as emotional residues rather than literal symbols. The use of alta, in particular, recalls memories of women in her family and gestures toward traditions that are fading yet persist quietly. Her works function as autobiographical fragments: layered, partially concealed, and emotionally charged, offering tender reflections on growing up as a woman in a middle-class Indian household, where memory, fantasy, and lived experience remain deeply intertwined.

A mysterious meeting

2025

Watercolour, Gouache Colour, Natural Pigment, Drawing, Golden Foil, Khariya on Canson (Acid-Free) Paper

22 x 30 in

130.7 grams (approximately)

Editions:

None

Art ID: 1

A mysterious meeting

2025

Watercolour, Gouache Colour, Natural Pigment, Drawing, Golden Foil, Khariya on Canson (Acid-Free) Paper

22 x 30 in

130.7 grams (approximately)

Editions:

None

Art ID: 1

A mysterious meeting

2025

Watercolour, Gouache Colour, Natural Pigment, Drawing, Golden Foil, Khariya on Canson (Acid-Free) Paper

22 x 30 in

130.7 grams (approximately)

Editions:

None

Art ID: 1

They both are waiting

2023

Natural Colour, Gouache Colour, Charcoal, Khariya, Alta Dye on Processed Surface (Patta Cloth Scroll)

13 x 30 in

Art ID: 138

They both are waiting

2023

Natural Colour, Gouache Colour, Charcoal, Khariya, Alta Dye on Processed Surface (Patta Cloth Scroll)

13 x 30 in

Art ID: 138

They both are waiting

2023

Natural Colour, Gouache Colour, Charcoal, Khariya, Alta Dye on Processed Surface (Patta Cloth Scroll)

13 x 30 in

Art ID: 138

Endless education

2025

Natural Pigment, Gouache Colour, Watercolour, Drawing, Colour Pencil, Khariya on Canson Paper

22 x 30 in

130.7 grams approximately

Editions:

none

Art ID: 2

Endless education

2025

Natural Pigment, Gouache Colour, Watercolour, Drawing, Colour Pencil, Khariya on Canson Paper

22 x 30 in

130.7 grams approximately

Editions:

none

Art ID: 2

Endless education

2025

Natural Pigment, Gouache Colour, Watercolour, Drawing, Colour Pencil, Khariya on Canson Paper

22 x 30 in

130.7 grams approximately

Editions:

none

Art ID: 2

Untitled (7 pieces)

2024

Natural Pigment, Clay, Gouache Colour, Flower Stain, Fresco on Acid-Free Mount Board and Paper

Variable paper size

Art ID: 518

Untitled (7 pieces)

2024

Natural Pigment, Clay, Gouache Colour, Flower Stain, Fresco on Acid-Free Mount Board and Paper

Variable paper size

Art ID: 518

Untitled (7 pieces)

2024

Natural Pigment, Clay, Gouache Colour, Flower Stain, Fresco on Acid-Free Mount Board and Paper

Variable paper size

Art ID: 518

The disturbing orange

2024

Watercolour, Tea Stain, Natural Colour on Rice Paper Paste on Fabiano

22 x 31 in

Art ID: 234

The disturbing orange

2024

Watercolour, Tea Stain, Natural Colour on Rice Paper Paste on Fabiano

22 x 31 in

Art ID: 234

The disturbing orange

2024

Watercolour, Tea Stain, Natural Colour on Rice Paper Paste on Fabiano

22 x 31 in

Art ID: 234

This is not a fairy tale, it’s truth

2024

Gouache Colour, Natural Colour, Charcoal, Pencil on Canson

6.5 x 30 in

Art ID: 558

This is not a fairy tale, it’s truth

2024

Gouache Colour, Natural Colour, Charcoal, Pencil on Canson

6.5 x 30 in

Art ID: 558

This is not a fairy tale, it’s truth

2024

Gouache Colour, Natural Colour, Charcoal, Pencil on Canson

6.5 x 30 in

Art ID: 558

Ayan Biswas

B.

1988

Ladakh

Ayan Biswas is a visual artist working with photography, printmaking, and moving images to explore landscapes, memory, and human relationships. His practice approaches image-making as a slow inquiry into place, examining how material processes, regional histories, and lived environments translate personal experiences into collective narratives.

After years of travelling and photographing the hills, Ayan chose to settle in a remote village in Ladakh, seeking not to document the landscape from a distance but to live within it. Immersed in everyday life, working alongside the community, tending livestock, farming, and sharing daily routines, he began to observe the intricate relationship between people, land, and time. This lived engagement reshaped his understanding of home and belonging, and informed images that reflect emotional ties to land rather than descriptive views of it.

Drawn to analogue and alternative photographic processes, Ayan builds cameras and experiments with historically slow printing methods. The extended duration of these processes mirrors the rhythms of pastoral life, where waiting, pause, and seasonal cycles are integral to movement rather than signs of stasis. Through this slowness, images are allowed to unfold gradually, holding space for reflection and multiple readings.

In parallel, his research explores the use of local plants and materials as photographic media, embedding the ecology and history of the region directly into the image. Over the past year, his practice has expanded into collaborative workshops with local communities, where image-making becomes a shared act. Together, they build an evolving archive that reflects collective identity, memory, and a quiet, enduring sense of belonging.

Ayan Biswas

B.

1988

Ladakh

Ayan Biswas is a visual artist working with photography, printmaking, and moving images to explore landscapes, memory, and human relationships. His practice approaches image-making as a slow inquiry into place, examining how material processes, regional histories, and lived environments translate personal experiences into collective narratives.

After years of travelling and photographing the hills, Ayan chose to settle in a remote village in Ladakh, seeking not to document the landscape from a distance but to live within it. Immersed in everyday life, working alongside the community, tending livestock, farming, and sharing daily routines, he began to observe the intricate relationship between people, land, and time. This lived engagement reshaped his understanding of home and belonging, and informed images that reflect emotional ties to land rather than descriptive views of it.

Drawn to analogue and alternative photographic processes, Ayan builds cameras and experiments with historically slow printing methods. The extended duration of these processes mirrors the rhythms of pastoral life, where waiting, pause, and seasonal cycles are integral to movement rather than signs of stasis. Through this slowness, images are allowed to unfold gradually, holding space for reflection and multiple readings.

In parallel, his research explores the use of local plants and materials as photographic media, embedding the ecology and history of the region directly into the image. Over the past year, his practice has expanded into collaborative workshops with local communities, where image-making becomes a shared act. Together, they build an evolving archive that reflects collective identity, memory, and a quiet, enduring sense of belonging.

Ayan Biswas

B.

1988

Ladakh

Ayan Biswas is a visual artist working with photography, printmaking, and moving images to explore landscapes, memory, and human relationships. His practice approaches image-making as a slow inquiry into place, examining how material processes, regional histories, and lived environments translate personal experiences into collective narratives.

After years of travelling and photographing the hills, Ayan chose to settle in a remote village in Ladakh, seeking not to document the landscape from a distance but to live within it. Immersed in everyday life, working alongside the community, tending livestock, farming, and sharing daily routines, he began to observe the intricate relationship between people, land, and time. This lived engagement reshaped his understanding of home and belonging, and informed images that reflect emotional ties to land rather than descriptive views of it.

Drawn to analogue and alternative photographic processes, Ayan builds cameras and experiments with historically slow printing methods. The extended duration of these processes mirrors the rhythms of pastoral life, where waiting, pause, and seasonal cycles are integral to movement rather than signs of stasis. Through this slowness, images are allowed to unfold gradually, holding space for reflection and multiple readings.

In parallel, his research explores the use of local plants and materials as photographic media, embedding the ecology and history of the region directly into the image. Over the past year, his practice has expanded into collaborative workshops with local communities, where image-making becomes a shared act. Together, they build an evolving archive that reflects collective identity, memory, and a quiet, enduring sense of belonging.

Days of Harvest 1 (Set of 9)

2025

Salted Paper Print from Medium Format Negatives on Watercolour Paper

4.53 × 4.53 in

Editions:

\-

Days of Harvest 1 (Set of 9)

2025

Salted Paper Print from Medium Format Negatives on Watercolour Paper

4.53 × 4.53 in

Editions:

\-

Days of Harvest 1 (Set of 9)

2025

Salted Paper Print from Medium Format Negatives on Watercolour Paper

4.53 × 4.53 in

Editions:

\-

The Bohurupi

2024

Hand Embroidery on Silver Gelatin Print Made on Resin-Coated Paper

7.5 × 8 in

Editions:

\-

The Bohurupi

2024

Hand Embroidery on Silver Gelatin Print Made on Resin-Coated Paper

7.5 × 8 in

Editions:

\-

The Bohurupi

2024

Hand Embroidery on Silver Gelatin Print Made on Resin-Coated Paper

7.5 × 8 in

Editions:

\-

Lha lChang - The Forgotten Tree

2025

Toned Cyanotype on Arches Aquarelle 300g Watercolour Paper

13 × 15 in

Editions:

\-

Art ID: 582

Lha lChang - The Forgotten Tree

2025

Toned Cyanotype on Arches Aquarelle 300g Watercolour Paper

13 × 15 in

Editions:

\-

Art ID: 582

Lha lChang - The Forgotten Tree

2025

Toned Cyanotype on Arches Aquarelle 300g Watercolour Paper

13 × 15 in

Editions:

\-

Art ID: 582

Khorlo - The Wheel of Life

2025

Silver Gelatin Print on Ilford Multigrade Pearl Finish Paper

9 × 12 in

Editions:

\-

Art ID: 579

Khorlo - The Wheel of Life

2025

Silver Gelatin Print on Ilford Multigrade Pearl Finish Paper

9 × 12 in

Editions:

\-

Art ID: 579

Khorlo - The Wheel of Life

2025

Silver Gelatin Print on Ilford Multigrade Pearl Finish Paper

9 × 12 in

Editions:

\-

Art ID: 579

The Ladakhi Kitchen - Likir Monastery, Ladakh (2 editions)

2025

Silver Gelatin Print, Pearl Finish

8 × 10 in

Editions:

2

Art ID: 593, 594

The Ladakhi Kitchen - Likir Monastery, Ladakh (2 editions)

2025

Silver Gelatin Print, Pearl Finish

8 × 10 in

Editions:

2

Art ID: 593, 594

The Ladakhi Kitchen - Likir Monastery, Ladakh (2 editions)

2025

Silver Gelatin Print, Pearl Finish

8 × 10 in

Editions:

2

Art ID: 593, 594

Weight of Wool

15 December 2025

Toned Cyanotype Print on Watercolour Paper

35 × 35 in (49 Tiles, Each 5 × 5 in)

Editions:

\-

Art ID: 478

Weight of Wool

15 December 2025

Toned Cyanotype Print on Watercolour Paper

35 × 35 in (49 Tiles, Each 5 × 5 in)

Editions:

\-

Art ID: 478

Weight of Wool

15 December 2025

Toned Cyanotype Print on Watercolour Paper

35 × 35 in (49 Tiles, Each 5 × 5 in)

Editions:

\-

Art ID: 478

Nabanita Guha

B.

1982

Kolkata | Silchar, Assam

Nabanita Guha lives and works between Kolkata and Silchar. She completed her Bachelor’s and Master’s degrees in Visual Arts from Rabindra Bharati University.
  
Her practice centres on the human body as a site shaped by cultural, social, and medical narratives. The body appears not as a stable form, but as residue, bearing traces of lived conditions, collective histories, and moments that are often overlooked. Moving between vulnerability and confrontation, her images reveal physicality that is at once intuitive and unsettling, delicate yet marked by decay. Fragmented and unmarked by fixed identity, these bodies dissolve conventional contours to expose fragility, interiority, and the instability of human existence. Working primarily with watercolour on Fabriano paper, she deliberately embraces the medium’s sensitivity to evoke stillness, material vulnerability, and a quiet intensity that resists conventional expectations of the form.

Nabanita Guha

B.

1982

Kolkata | Silchar, Assam

Nabanita Guha lives and works between Kolkata and Silchar. She completed her Bachelor’s and Master’s degrees in Visual Arts from Rabindra Bharati University.
  
Her practice centres on the human body as a site shaped by cultural, social, and medical narratives. The body appears not as a stable form, but as residue, bearing traces of lived conditions, collective histories, and moments that are often overlooked. Moving between vulnerability and confrontation, her images reveal physicality that is at once intuitive and unsettling, delicate yet marked by decay. Fragmented and unmarked by fixed identity, these bodies dissolve conventional contours to expose fragility, interiority, and the instability of human existence. Working primarily with watercolour on Fabriano paper, she deliberately embraces the medium’s sensitivity to evoke stillness, material vulnerability, and a quiet intensity that resists conventional expectations of the form.

Nabanita Guha

B.

1982

Kolkata | Silchar, Assam

Nabanita Guha lives and works between Kolkata and Silchar. She completed her Bachelor’s and Master’s degrees in Visual Arts from Rabindra Bharati University.
  
Her practice centres on the human body as a site shaped by cultural, social, and medical narratives. The body appears not as a stable form, but as residue, bearing traces of lived conditions, collective histories, and moments that are often overlooked. Moving between vulnerability and confrontation, her images reveal physicality that is at once intuitive and unsettling, delicate yet marked by decay. Fragmented and unmarked by fixed identity, these bodies dissolve conventional contours to expose fragility, interiority, and the instability of human existence. Working primarily with watercolour on Fabriano paper, she deliberately embraces the medium’s sensitivity to evoke stillness, material vulnerability, and a quiet intensity that resists conventional expectations of the form.

Feast of Mirabilia and the impetuous lies of tranquillity

2024

Watercolour on Fabriano paper

60 x 37 in

Editions:

Feast of Mirabilia and the impetuous lies of tranquillity

2024

Watercolour on Fabriano paper

60 x 37 in

Editions:

Feast of Mirabilia and the impetuous lies of tranquillity

2024

Watercolour on Fabriano paper

60 x 37 in

Editions:

The Bedsorean Lull...and the bed ruminates 1

2021

Watercolour on Fabriano paper

15 x 20 in

Editions:

The Bedsorean Lull...and the bed ruminates 1

2021

Watercolour on Fabriano paper

15 x 20 in

Editions:

The Bedsorean Lull...and the bed ruminates 1

2021

Watercolour on Fabriano paper

15 x 20 in

Editions:

Buried Me Inside

2023

Watercolour on Fabriano paper

11 x 8.12 in

Editions:

Buried Me Inside

2023

Watercolour on Fabriano paper

11 x 8.12 in

Editions:

Buried Me Inside

2023

Watercolour on Fabriano paper

11 x 8.12 in

Editions:

The Birth of a Colony One Black Night

2024

Watercolour on Fabriano paper

10.13 x 8.14 in

Editions:

The Birth of a Colony One Black Night

2024

Watercolour on Fabriano paper

10.13 x 8.14 in

Editions:

The Birth of a Colony One Black Night

2024

Watercolour on Fabriano paper

10.13 x 8.14 in

Editions:

And the Eyes Fizzled Out in the Delirium

2022

Watercolour on Fabriano paper

19.5 x 14.5 in

Editions:

And the Eyes Fizzled Out in the Delirium

2022

Watercolour on Fabriano paper

19.5 x 14.5 in

Editions:

And the Eyes Fizzled Out in the Delirium

2022

Watercolour on Fabriano paper

19.5 x 14.5 in

Editions:

The spoils of the sea of Hispaniola and the irresistible unhurried rambling of the Ampulla of Vater

2019

Watercolour on Fabriano paper

16 x 60 in

Editions:

The spoils of the sea of Hispaniola and the irresistible unhurried rambling of the Ampulla of Vater

2019

Watercolour on Fabriano paper

16 x 60 in

Editions:

The spoils of the sea of Hispaniola and the irresistible unhurried rambling of the Ampulla of Vater

2019

Watercolour on Fabriano paper

16 x 60 in

Editions:

Manjit Gogoi

B.

1996

Kaziranga, Assam

Manjit Gogoi is a sculptor from Assam. His practice emerges from growing up in an eco-sensitive zone near Kaziranga National Park. Early exposure to shifting landscapes, where wildlife habitats intersected with agriculture, tourism, and development, shaped his long-term engagement with ecological change and environmental justice. He completed his BFA in Sculpture from the Government College of Art & Crafts, Guwahati (2021), and his MFA in Sculpture from Sir J. J. School of Art, Mumbai (2023).  

Working across sculpture, relief, and site-responsive installation, Gogoi treats the landscape itself as a collaborator. Moving between rural and urban contexts, he gathers fragments of natural and man-made materials that carry traces of extraction, consumption, and displacement. Through processes of assemblage, weaving, layering, and up-cycling, these materials are reconfigured into hybrid forms where the residue of place is materially embedded.

Rooted in environmental science, geography, and indigenous knowledge systems of Northeast India, his cross-disciplinary practice examines how fragmentation, urbanisation, and agricultural expansion disrupt ecosystems and force human–non-human conflict. Each work functions simultaneously as a material experiment and a visual map, recording geological shifts, ecological stress, and social imbalance. Gogoi’s practice foregrounds sustainability and collective responsibility, inviting reflection on habitat loss, resource inequity, and the fragile boundaries that bind human and non-human worlds.

Manjit Gogoi

B.

1996

Kaziranga, Assam

Manjit Gogoi is a sculptor from Assam. His practice emerges from growing up in an eco-sensitive zone near Kaziranga National Park. Early exposure to shifting landscapes, where wildlife habitats intersected with agriculture, tourism, and development, shaped his long-term engagement with ecological change and environmental justice. He completed his BFA in Sculpture from the Government College of Art & Crafts, Guwahati (2021), and his MFA in Sculpture from Sir J. J. School of Art, Mumbai (2023).  

Working across sculpture, relief, and site-responsive installation, Gogoi treats the landscape itself as a collaborator. Moving between rural and urban contexts, he gathers fragments of natural and man-made materials that carry traces of extraction, consumption, and displacement. Through processes of assemblage, weaving, layering, and up-cycling, these materials are reconfigured into hybrid forms where the residue of place is materially embedded.

Rooted in environmental science, geography, and indigenous knowledge systems of Northeast India, his cross-disciplinary practice examines how fragmentation, urbanisation, and agricultural expansion disrupt ecosystems and force human–non-human conflict. Each work functions simultaneously as a material experiment and a visual map, recording geological shifts, ecological stress, and social imbalance. Gogoi’s practice foregrounds sustainability and collective responsibility, inviting reflection on habitat loss, resource inequity, and the fragile boundaries that bind human and non-human worlds.

Manjit Gogoi

B.

1996

Kaziranga, Assam

Manjit Gogoi is a sculptor from Assam. His practice emerges from growing up in an eco-sensitive zone near Kaziranga National Park. Early exposure to shifting landscapes, where wildlife habitats intersected with agriculture, tourism, and development, shaped his long-term engagement with ecological change and environmental justice. He completed his BFA in Sculpture from the Government College of Art & Crafts, Guwahati (2021), and his MFA in Sculpture from Sir J. J. School of Art, Mumbai (2023).  

Working across sculpture, relief, and site-responsive installation, Gogoi treats the landscape itself as a collaborator. Moving between rural and urban contexts, he gathers fragments of natural and man-made materials that carry traces of extraction, consumption, and displacement. Through processes of assemblage, weaving, layering, and up-cycling, these materials are reconfigured into hybrid forms where the residue of place is materially embedded.

Rooted in environmental science, geography, and indigenous knowledge systems of Northeast India, his cross-disciplinary practice examines how fragmentation, urbanisation, and agricultural expansion disrupt ecosystems and force human–non-human conflict. Each work functions simultaneously as a material experiment and a visual map, recording geological shifts, ecological stress, and social imbalance. Gogoi’s practice foregrounds sustainability and collective responsibility, inviting reflection on habitat loss, resource inequity, and the fragile boundaries that bind human and non-human worlds.

Conflict Waves Towards Mangroves

2022

Mixed Media (Banyan Tree Roots & PVC Wires)

32 in (diameter)

Art ID: 466

Conflict Waves Towards Mangroves

2022

Mixed Media (Banyan Tree Roots & PVC Wires)

32 in (diameter)

Art ID: 466

Conflict Waves Towards Mangroves

2022

Mixed Media (Banyan Tree Roots & PVC Wires)

32 in (diameter)

Art ID: 466

Untitled, 2 (Set of 5)

2025

Mixed Media (Construction Waste on Mount Board)

6 × 8 in

Untitled, 2 (Set of 5)

2025

Mixed Media (Construction Waste on Mount Board)

6 × 8 in

Untitled, 2 (Set of 5)

2025

Mixed Media (Construction Waste on Mount Board)

6 × 8 in

The Last Monarch 1

2025

Mixed Media (Construction Waste on Paper)

14.6 × 21.5 in

Art ID: 403

The Last Monarch 1

2025

Mixed Media (Construction Waste on Paper)

14.6 × 21.5 in

Art ID: 403

The Last Monarch 1

2025

Mixed Media (Construction Waste on Paper)

14.6 × 21.5 in

Art ID: 403

Untitled 03

2026

Mixed Media (Fishing Thread, Water Hyacinth Pulp on Bamboo Weaving)

10 × 7 in

Untitled 03

2026

Mixed Media (Fishing Thread, Water Hyacinth Pulp on Bamboo Weaving)

10 × 7 in

Untitled 03

2026

Mixed Media (Fishing Thread, Water Hyacinth Pulp on Bamboo Weaving)

10 × 7 in

Fragments of Excess

2025

Mixed Media (Bamboo, Iron, Construction Waste)

20 × 32 × 4 in

Fragments of Excess

2025

Mixed Media (Bamboo, Iron, Construction Waste)

20 × 32 × 4 in

Fragments of Excess

2025

Mixed Media (Bamboo, Iron, Construction Waste)

20 × 32 × 4 in

Urban Camouflage

2022

Mixed Media (Wood, PVC Wires, Urban Waste)

26 × 14 × 7 in

Urban Camouflage

2022

Mixed Media (Wood, PVC Wires, Urban Waste)

26 × 14 × 7 in

Urban Camouflage

2022

Mixed Media (Wood, PVC Wires, Urban Waste)

26 × 14 × 7 in

A space for art, reflection,
and quiet creation.

write to us at movement@quietart.com

A space for art, reflection,
and quiet creation.

write to us at movement@quietart.com

A space for art, reflection,
and quiet creation.

write to us at movement@quietart.com