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Renowned sculptor Dr. Venkata presents “IN THE FACE OF IT ALL”, a solo exhibition of his recent sculptures at Jehangir Art Gallery, Kala Ghoda, Mumbai, on view from 14th to 20th April 2026, from 11 am to 7 pm.
Working with bamboo, paper, resin, and draped fabric, Dr. Venkata transforms humble materials into striking sculptural presences. At times enhanced with paint, the works take on a semi-realistic quality, further enriched by the enduring sculptural traditions of the temples of Andhra Pradesh. The result is a compelling visual field where humanity and environment remain inseparably bound in a tense coexistence.
Nature, in this exhibition, is not passive scenery but the structuring principle of existence. Fishermen, women, and hybrid anthropomorphic forms emerge as tidal beings shaped by wind, salt, soil, and the memory of coastal labour. Their bodies inhabit porous, honeycomb-like landscapes suggestive of multiple, entangled worlds.
The exhibition emerges from Venkata Rao’s sustained engagement with the sea as both memory and material condition. His sculptures pulse with the unruly energy of water, responding to the violence of human excess and the ecological aftermath it leaves behind.
Dr. Venkata Rao’s sculptural language moves with the force and unpredictability of water, surging in response to the consequences of human excess. Rooted in the memory of a place once called home and layered with nostalgia, his works unfold through profound spatial and emotional depth. Rather than moralising, he excavates enduring archetypes of time and transformation.
These sculptures resonate with the lived realities of seaside communities for whom the sea remains a lifeline. Here, nature is not a backdrop but the governing force that shapes labour, survival, and everyday life. The works also bear witness to polluted waters, altered coastlines, and bodies marked by ecological imbalance.
As the artist reflects: “My reaction to humanity’s savage flaws has transformed into forms that are partly human and partly animal. Yet my concern for humankind has altered my judgment, turning them into gorgeous gargoyles, metaphorical depictions of metropolitan life and its convoluted existence.”
The sculptures also open a conversation around memory as an ecological archive. In Venkata Rao’s practice, the coastline is not merely a site but a living repository of labour, ritual, erosion, and resilience. Each surface seems to retain traces of weathered histories, allowing the viewer to encounter not only the form itself but the sediment of lives shaped in proximity to the sea.
A compelling tension runs through the exhibition between fragility and monumentality. While the use of bamboo, paper, and fabric suggests delicacy and impermanence, the figures assert an undeniable physical authority. This duality mirrors the condition of the communities they evoke, vulnerable to environmental change, yet enduring through inherited knowledge, collective memory, and adaptation.
What ultimately emerges is a sculptural meditation on coexistence: between the human and the animal, the urban and the elemental, memory and transformation. The works invite viewers to consider how bodies, landscapes, and systems remain deeply entangled, and how the restoration of this relationship may be as much an act of remembrance as it is of responsibility.
This show was inaugurated on 14th April 2026 by Honourable Guests Dr. Achal Pandya(Professor and Head of the Division(Conservation) Indira Gandhi National Centre for the Arts(IGNCA) Janpath, New Delhi), Mr. Ratan Krishna Saha(Eminent Sculptor) among others.
“IN THE FACE OF IT ALL”, Solo Exhibition Of Sculptures By Dr. Venkata At Jehangir Art Gallery
From: January 16 – 31, 2026
JMD Gallery Presents
“Breath of The Infinite”
A Group Exhibition of Paintings by Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya
VENUE:
JMD Art Gallery
J – 109, Ansa Industrial Estate,
Saki Vihar Road, Saki Naka,
Near Shiv Sagar Restaurant, Andheri East,
Mumbai, Maharashtra 400072
Phone: 093231 29595 / 09221133506
www.jmdartgallery.com
Timing: 11am to 7pm
Breath of The Infinite
A Group show of Paintings by five contemporary renowned artists – Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya will be displayed at JMD Art Gallery, J-109, Ansa Industrial Estate, Saki Naka, Andheri(West), Mumbai from 16th to 31st January 2026 between 11am to 7pm.
Santosh Kumar Sandilya paints Kashi not as a picturesque city but as a living cosmology, where architecture, river, boats, and human ritual are bound into one breathing organism. Working with Ganga -jal as both medium and meaning, his layered ghats turn Varanasi into a site where faith, time, and everyday life flow through the same visual bloodstream.
Ranjit Kurmi’s abstraction moves like a charged weather system; bands of colour collide, fracture, and recombine, producing a painterly turbulence that feels both lyrical and volatile. His canvases hold the tension between structure and release, where pigment behaves like memory in motion rather than fixed form.
Chetan Katigar builds a lush narrative theatre where myth, music, flora, and human presence fold into a single ornamental rhythm, giving devotional storytelling the pulse of contemporary colour. His figurative worlds feel ceremonial yet intimate, where Krishna, musicians, animals, and forest become a single breathing choreography rather than separate motifs.
Pradip Kumar Sau constructs a metaphysical theatre in blue, where floating heads, ascending triangles amidst celestial bodies, and drifting bodies map the human mind’s restless pull between gravity and transcendence. His paintings stage the psyche as a dream-space in which the finite body strains toward an infinite, luminous elsewhere.
Dinesh Parmar composes memory like a palimpsest; layered fields of colour, fractured faces, and symbolic geometry drifting through one another as if time itself were being slowly repainted. His mixed-media surfaces feel archaeological, where emotion, history, and private myth surface and dissolve in the same breath.
This show was inaugurated on 16th January 2026 by Honourable Guests Mr. Milind Pai(Principal Architect), Mr. Sameer Bhambere(Founder of Lemon Yellow LLP)
—–Sushma Sabnis (Art Curator & Writer)
JMD Art Gallery Presents “Breath Of The Infinite” A Group Exhibition Of Paintings By 5 Contemporary Renowned Artists
From: 23rd to 29th December 2025
“CHITTADARSHANI”
Art Exhibition by contemporary artist Dhiraj Hadole
VENUE:
Jehangir Art Gallery
Auditorium Hall
161-B, M.G. Road
Kala Ghoda, Mumbai 400001
Timing: 11am to 7pm
Holding Space: Dhiraj Hadole’s Geometry
Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.
His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.
At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.
The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.
Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.
What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.
These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.
This show was inaugurated on 23rd December 2025 by Honourable Guests –
Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,
Mr. Madhukar Wanjari – Eminent Sculptor
Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,
Amit Shah :Director – Magnifique Décor and Mangal Movements Mumbai
—-Sushma Sabnis Mumbai (December 2025)
https://www.youtube.com/shorts/zrHgAgREL1k
“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery
From: 23rd to 29th December 2025
“CHITTADARSHANI”
Art Exhibition by contemporary artist Dhiraj Hadole
VENUE:
Jehangir Art Gallery
Auditorium Hall
161-B, M.G. Road
Kala Ghoda, Mumbai 400001
Timing: 11am to 7pm
Holding Space: Dhiraj Hadole’s Geometry
Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.
His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.
At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.
The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.
Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.
What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.
These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.
This show was inaugurated on 23rd December 2025 by Honourable Guests –
Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,
Mr. Madhukar Wanjari – Eminent Sculptor
Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,
Amit Shah :Director – Magnifique Décor and Mangal Movements Mumbai
—-Sushma Sabnis Mumbai (December 2025)
https://www.youtube.com/shorts/zrHgAgREL1k
“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery
From: 23rd to 29th December 2025
“CHITTADARSHANI”
An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole
VENUE:
Jehangir Art Gallery
Auditorium Hall
161-B, M.G. Road
Kala Ghoda, Mumbai 400001
Timing: 11am to 7pm
Dhiraj Hadole
Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.
His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.
Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.
These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.
Pravin Waghmare
Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.
Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.
Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth.
Swapnil Sangole
Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.
His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.
Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.
This show was inaugurated on 23rd December 2025 by Honourable Guests –
Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,
Mr. Madhukar Wanjari – Eminent Sculptor
Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,
Amit Shah : Director – Magnifique Décor and Mangal Movements Mumbai
https://www.youtube.com/shorts/CdOI9KaplkQ
“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery
Anisha Sanghani’s first International solo show “Manthan” scheduled at Kamalnayan Bajaj Art Gallery, Nariman Point, Mumbai, December 1–6, 2025., embodies a Mythic Storm of Gods, Plastic, and Conscience. An ocean of kaleidoscopic colors unfurls, punctuated by a glimmer of gold. Gods ascend from the waves, and divinity appears revitalized. Nonetheless, upon closer examination, disillusion prevails. The resplendent display is not divine, but rather a searing commentary, as the gods’ smiles dissipate.
At Manthan, U.S. based Indian artist Anisha Sanghani rejects painting in favor of protest. Her mythic mixed-media exhibition, presents a world that has corrupted worship into waste. Drawing from the cosmic legend of Samudra Manthan, the churning of the ocean, Sanghani reimagines the myth in a world where the nectar has vanished, the ocean is slick with oil, and all that glitters is plastic. This is not Manthan. This is lamentation.
Maa Kali ascends, not with benedictions, but with blood and ire. Shiva grasps not the halahal, but mountains of discarded reverence. Vishnu floats not on cosmic waters but on rainbows of waste. Each canvas, each frame, trembles with sacred betrayal—crafted from acrylics, gold and silver foil, candy wrappers, metal, fabric, plastic, and even fishing net. These materials are not just medium. They are message.
But for Sanghani, this isn’t just an exhibition. It is resurrection. After two decades of work as a senior graphic product and package designer in U.S. the pandemic closed one door, and she opened another. Returning to art school, earning her BFA, reinventing herself as a full-time artist, muralist, and educator—this show is her soul on canvas. Her journey is one of reclamation. And each piece reflects that rebirth.
Manthan’s presence is announced with a wail, not a whisper. A sculpture visibly trembles, as if the Earth itself is experiencing a seismic event. The shimmer is mesmerizing, then unexpectedly piercing. A stark reminder that our oceans are facing destruction, our rituals are losing their essence, and our faith is being entangled in plastic. The exhibition serves as a call to action. Because when the gods rage, it is not thunder that we should fear. It is ourselves.
Manthan is a poignant and thought-provoking exploration of the intersection of oceanic wonders, ancient mythological themes, and the devastating impacts of consumerism, prompting introspective moments of recognition and reckoning. Sanghani’s canvases vividly capture the raw, suffocating terror of a world overwhelmed by its own waste, from plastic-entangled fish to gods in recoil. With a multidisciplinary background in fine arts, textiles, and graphic design, Sanghani reimagines the ancient myth of Samudra Manthan as a contemporary ecological cautionary tale, highlighting the dire consequences of human neglect. Her mixed-media works evoke a sense of both reverence and desecration, as seen in The New Manthan, where a sea turtle navigates through swirling waters as serpents and sea creatures maneuver through surreal mounds of plastic refuse, evoking a world where mythology reels under man-made disaster.
Sanghani’s artistic technique—lush, overflowing, almost seductive—draws viewers closer before confronting them with the brutality beneath. That brutality is not merely imagined. In a haunting set of personal experiments, Sanghani submerged herself in water with her face encased in plastic, attempting to inhabit the suffocating reality of marine creatures trapped in debris. “I became their voice,” she says. The image is devastating: a human being tasting the terror we force upon the ocean’s inhabitants daily. “Art cannot clean the oceans,” Sanghani notes, “but it can remind us of what they mean to us.” Manthan thus becomes a moral mirror.
Each piece elicits questions long buried beneath convenience and complacency. What are we taking from the ocean? What are we giving back? And what will surface next if we do not intervene? “I want to draw viewers in with beauty, only to expose the underlying unease,” she says. Manthan urges every visitor to face that discomfort, beginning their own inner churning toward awareness, responsibility, and renewal. Behold the new Manthan. Allow the radiance to enthrall you. Let the truth awaken your senses. For in this instance, the rainbow has fallen—and redemption is not assured. Nevertheless, there is still time.
Sanghani’s work is celebrated across the United States, India, and Puerto Rico, has won the Conceptual Artist of the Year Award from Art Comes Alive in Cincinnati, the Best Use of Theme Award from Reading Community Arts Center 2024, the Prestige Award from the University of Cincinnati, and the Garden Rotating Trophy from Sophia College, Mumbai. She has judged the Visual Arts Overture Awards for the Cincinnati Arts Association in 2024 and 2025. Her creations have been featured in the Cincinnati Enquirer, Atlanta Gazette, and more. But accolades aside, this show speaks louder than any trophy ever could.
Manthan was inaugurated on 1 December 2025 by distinguished guests, including Ms. Nidhi Choudhary, IAS, Artist, and Director, National Gallery of Modern Art, Mr. Sameer Balvally, founder of the award-winning architecture and interior design practice Studio Osmosis, Mr. Ronak Sutaria, CEO, Respirer Living Sciences, Mr. Rishiraj Sethi, Director, Aura Art Development Pvt Ltd and co-founder of Aura Art, Dilip Ranade, distinguished Indian artist and former Senior Curator at Mumbai’s CSMVS, and Prakash Bal Joshi, renowned artist and author.
Also, special thanks to Bollywood film director, writer, and producer Harshavardhan Kulkarni, Sony Marketing Strategist Parinda Singh, and Bollywood Music Director Khamosh Shah for attending the inauguration and for their appreciation for my works.
Photographers: Ajay Natke and Sharon Dev Pimento.
“Manthan” A Solo Exhibition By U.S.–Based Artist Anisha Sanghani, Opened At Kamalnayan Bajaj Art Gallery
From: 14th to 20th October 2025
“UJJAL”
An Exhibition of Paintings & sculptures by 6 contemporary renowned artists – Bappa Maji, Pravat Manna, Subrata Paul, Sudeshna Sil, Sudip Biswas, Tanmoy Hazra.
VENUE:
Jehangir Art Gallery
Auditorium Hall
Kala Ghoda, Mumbai 400001
Timing: 11am to 7pm
Contact: +91 9163718889, +91 9831307228
UJJAL” — A Radiant Confluence of Painting & Sculpture 14 – 20 October 2025 | Jehangir Art Gallery (Auditorium Hall), Mumbai
The group show “UJJAL” displays paintings and sculptures by six contemporary Indian artists: Bappa Maji, Pravat Manna, Subrata Paul, Sudeshna Sil, Sudip Biswas, and Tanmoy Hazra.
“UJJAL” (meaning bright, luminous) draws viewers into a deep conversation with form, colour, memory, myth, and nature. These six artists, regardless of their fields, combine tradition and novelty, the physical and the lyrical, the individual and the general.
This show was inaugurated on 14th October 2025 by Mr. Brahmanand S. Singh(National Award Winning Filmmaker, Author & Mentor)
Bappa Maji of Kolkata sculpts sacred and animal forms using the Bengal Dokra tradition. He reinterprets mythological Vahanas in new materials. His art considers humans, animals, myth, and daily life, prompting viewers to feel respect and think.
Pravat Manna uses paint to change the canvas into a landscape of feelings, using oil, acrylic, and mixed media. Through layered compositions, he explores memory, identity, and humanity, using technical skill and personal symbolism.
Active since the late 1990s, Subrata Paul sculpts, often with bronze and wood, moving beyond mere replication to reveal the hidden energies of form. His sculptures communicate human feelings and interactions, using both old and new artistic methods.
Sudeshna Sil’s work reflects her sensitivity, influenced by Bengal’s nature and art training. Through watercolour, mixed media, and fabric, she portrays nature’s depth, offering escape from city life.
Sudip Biswas, a notable modern Indian painter, creates stories of quiet feelings, cultural remembrance, and tradition. Benaras and the Ganga influence his paintings, which combine abstraction and figuration. His recent awards highlight the impact of his work.
The exhibition also includes Tanmoy Hazra’s work, which is characterised by its expressive and innovative qualities and engagement with diverse materials, form, context, and meaning.
The six artists engage in a complex dialogue, rich with layers of myth and matter.
“UJJAL” presents a unique mix of artists, allowing art lovers to dive into modern Indian visuals that are both classic and forward-looking. We welcome everyone to experience these artworks at Jehangir Art Gallery.
Sushma Sabnis – Mumbai.
“UJJAL” An Exhibition of Paintings & Sculpture by 6 renowned artists in Jehangar Art Gallery
From: 14th to 20th October 2025
“Visthapan”
A Solo Show of Recent Work by Vishwa Sahni
VENUE:
Jehangir Art Gallery
Kala Ghoda, Mumbai 400001
Timing: 11am to 7pm
Contact: +91 9324647023
“Visthapan” Solo Show of Recent Work by Vishwa Sahni in Jehangir Art Gallery, Kala Ghoda, Mumbai from 14th to 20th October 2025
This show was inaugurated on 14th October 2025 by Ms. Manju Ramesh Chouhan(Staff member of Jehangir Art Gallery) in the presence of Mr. Padmanabh Bendre(Eminent Artist), Pradeep Chandra(Eminent Photographer & Author), Mr. Uttam Jain(Patron Hindustan Chamber of Commerce), Mr. Snehal N. Muzoomdar(President, Indian Musicological Society), Mr. K.K. Tated(Chairman, committee to monitor Animal Welfare) among others.
Vishwa Sahni’s painting seems to have been focused for some time on the contention that abstraction, if allowed to breathe in a deeper pictorial space, can maintain visual opulence without drifting too far from its essentially two-dimensional syntax. Among a generation of artists who matured on this side of painting’s pluralist expansion, where each painter’s style, look and touch was far more varied than that of their predecessors, Sahni held to a firm figurative scaffold based on migration both perceived and imagined. Though the iconography in this recent work remains readable each painting’s horizon is still easy to find, there is in newer panels a softening of the edges and a swelling of forms that now shimmer behind translucent washes instead of bending, as they once did, into each other’s space. From an optimal distance coerced from the viewer by the five feet by nine feet spread of their frames their reconfigured cohesion seems to rely less on drawing and more on a spontaneous manipulation of hue and texture.
The resulting airiness is a clear departure from his earlier work, which is reprised in this exhibition, an example of his harder-edged shapes, apparently reconstituted during the painting’s many stages of development so as not to diminish the careful coordinating of its unique structural invention. To drift from the success of this method is risky, for what’s been so appealing about Sahni’s work until now has been precisely its interconnected complexity. The changes seen in this exhibition may be attributed in some measure to his establishing a studio in Mumbai, a move from country life in Madanpur, for reasons linked to the landscape itself, resetting a painter’s perspective.
A clue to the path taken in this shift between the earlier compositions and these newer, cloudier apparitions may be found in seven-foot square painting representing the artist’s trials at keeping the structure fixed tighter to the surface. Here, a familiarity with Sahni’s elevated horizon line helps the viewer read the ghost of a landscape that still exists despite the missing diagonals and story-book trees of his earlier work, elements that had once supported the artist’s penchant for excavating spatial illusion with little cost to a lively surface. Visthapan marks the change as its simplified shapes are not immediately recognizable as landscape elements. They also seem unusually tolerant of each other’s position in the composition.
And yet to my eye the most adventurous of the newer canvases in the show, still owes something to the lexicon of the earlier work, though here it seems Sahni’s method has turned to a new and pronounced improvisation. Visthapan’s surface remains in a perturbed state. Edges are ragged and makeshift. Translucency dominates. There is even a gestural coarseness replacing what was once a controlled chaos of endlessly suggestive shapes. The color alone in Visthapan provides the link to earlier work, being mostly middle tones of contingent primary and secondary hues.
For anyone who has followed Sahni’s work these many years, an effort to catch up to where he is now will require diligence, which I believe is a fair expectation for him to make as his paintings have always appealed to a visually smart audience. Because his abundant inventiveness had constituted as near a legible pictorial language as created by any painter in recent memory, encountering its contraction will demand a real and unavoidable learning curve. Sahni is a painter whose strength had always been his ability to develop variations on a theme. The construction of an intelligent, readable and teasingly ambiguous pictorial image, still speaks to a continuity of vision.
Sahni has never been a painter fixated on concocting a new look, and there is no indication here of chasing novelty, nor is there any hint of applying arbitrary effects to avoid comparison with contemporaries. From the beginning his work has been a conscious adaptation of migrant landscape elements knit tightly into compositions that owed a great deal of their cohesion to those compositional properties that as any instructor knows are maddeningly difficult to formulate verbally but can be appreciated in its many variations. As galleries continue to hawk brightly colored things apparently meant for the simpler aim of accessorizing the expansive blank walls that once provided inexpensive working space for artists, it gives one hope to watch a painter keep to self-imposed limitations, not in spite of, but because there is more than enough room within a rectangle of canvas to address a thoughtful and historically aware sensibility.
—Abhijeet Gondkar
October 2025, Mumbai
“Visthapan” Solo Show Of Recent Work By Vishwa Sahni In Jehangir Art Gallery
From: 19th to 25th August 2025
“ANISOTROPIC”
An Exhibition of Paintings by 3 contemporary well-known artists – Boddeti Suryanarayana, Raki Rao, Diana.
VENUE:
Jehangir Art Gallery
161-B, M.G. Road, Kala Ghoda,
Mumbai – 400 001
Timing: 11am to 7pm
Contact: 9962293401
A group show that depicts non uniformity in unity .
various styles , emotions and ideologies come together as one narrative !
Anisotropic, where non-uniformity meets uniformity, a heartfelt event group show of 3 artists from Andhra Pradesh. Anisotropic is more than just an art exhibition — it’s a beautiful reunion of us !
This show was inaugurated on 19th August 2025 by Honorable Guests – Mr. Nitin Jadia – Art Collector, Mr. Sanjay Nikam – Art Curator, Mr. Gopal Pardeshi – well-known artist, Mr. Prasad Balan – Arreywaah.com – Director, Founder among others. This show will continue till 25th August 202
Mr. Ajoykant Ruia(Director – Allstate Group) also visited this exhibition.
Boddeti Suryanarayana
Boddeti Suryanarayana is a retired Drawing Teacher. He has been producing wonderful paintings and works of Art. He is well-known all over India and also abroad. He has won several awards both at state and national level. The style of his art is realistic and deals with the lives of the Primitive Tribal Groups.
Boddeti Suryanarayana goes back to his boyhood days when he spent his days among the PTGs, as his elder brother was working in the Girijan Co-operative Corporation, Visakhapatnam District located in Paderu, Chinthapalli and Aruku Valley. His keen observation of their lives became the subject of his art of painting. He is a unique painter because nobody has touched this subject so far. His experiences of his early days with the PTGs brought him recognition at the national level and resulted in getting awards and name and fame.
The tribal communities in the Visakha Agency have a rich history, marked by unique cultural practices and distinct social structures. These groups, including the Bagata, Kotiya, Konda Dora, and others, have traditionally inhabited the hilly and forest regions of the Eastern Ghats.
The Khond, Porja and Gadaba are identified as “Primitive Tribal Groups” (PTGs). They depend on Podu cultivation, forest produce collection, carpentry and black smithing for their livelihood.
Mr.Boddeti Suryanarayana mingled with these Primitive Tribal Groups to study their life style. His paintings emerge out of his realistic study of their day-to-day life.
Raki Rao
RAKI, or Rama Krishna Donga, a Chennai-based artist from Palakol, Andhra Pradesh, will showcase his Fusion Art at the ANISOTROPIC group exhibition at Jehangir Art Gallery, Mumbai, from August 19th to 25th, 2025.
Self-taught but mentored by stalwarts like Ankaiah and Sri Rajavelu, RAKI has 40 years of experience, including assisting a well-known South Indian artist and associating with prominent groups like Guntur Pandavas and Kalapeetham of Andhra Pradesh. His artistic career, which began in 1985, later evolved to include modern abstract styles, blending cubism with traditional themes. This unique style, characterized by a symbiosis of modern techniques and a traditional foundation, is referred to as Fusion Art.
RAKI holds a Diploma in Painting from SDKK College of Fine Art, Chennai. He has served as Vice President of the Tamil Nadu Arts and Crafts Improvement Association (2017-2019) and Cultural Secretary for Andhra Pradesh & Telangana State at Sri Dharshini Group of Institutions (2018-2019). He also founded the VAPA-BAPU Art Association. RAKI has earned 16 awards in major South Indian competitions and participated in over 35 exhibitions.
Diana
Ms. DIANA , from Andhra Pradesh, is a passionate Educator, writer, art therapist, and folk artist with 24 years of experience in the field of Art. She is a multidisciplinary artist who practices a unique Art form called the Deccani scrolls which is quintessential to Andhra and Telangana state , where she grew up ! Her vibrant works—encompassing textiles, murals, natural stone and clay colors , and community-based installations—reclaim indigenous and matriarchal histories.
She is a versatile artist who has done immersive residencies on batik from Indonesia , natural dying from Mysore and ceramics from chennai .Through intricate clay vessels, vibrant batik tapestries, and plant-based dyes, she explores themes of cultural motifs and environmental connection. Additionally, she has completed an art therapy course and conducts successful therapy sessions for individuals and corporate clients who need help with depression and anxiety .
Currently, Diana works at KIDS Central High Cambridge International School, where she is deeply committed to fostering community connections through art.
ANISOTROPIC An Exhibition Of Paintings By 3 Contemporary Well-Known Artists In Jehangir Art Gallery
From: 12th to 18th August 2025
“FRAGMENTS OF SILENCE”
An Art Exhibition by 6 contemporary renowned artists – Virendra Chopde, Vinay Bagde, Abhishek Chourasiya, Vinod Chachere, Siddharth Bettajewargi, Umesh Nayak
VENUE:
Jehangir Art Gallery
Auditorium Hall
161-B, M.G. Road,
Kala Ghoda, Mumbai 400001
Contact: +91 8149723564 / +91 7276409841
Timing: 11am to 7pm
This show was inaugurated on 12th August 2025 by Honorable Guests –
Dr. Kishor Ingale, kalasanchalak, kalasanchalanalay, Maharashtra Rajya.
Milind Limbekar,Renowned artist, critic, and art collector.
Maheshchandra Rajgire, Eminent artist,
Chandrakant Channe, founder, Basoli group.
Prof.Vishawnath Sable, Dean, Govt. College of Art and Design, Nagpur.
FRAGMENTS OF SILENCE
The aesthetics of fragments and silence occupy a potent conceptual space in today’s contemporary visual art. fragments operate as aesthetics and conceptual device; they reflect what we perceive and execute. whereas silence here is a space between what is said and what remains unspoken.
Artist today is practicing in various medium and material a group of such artists has joined hands together where they stand common conceptually but differs in the language and material. Each of them has their own poetics of fragments and space, yet they stand with a powerful narrative void and a space inviting spectator to enter the world of personal and collective history. Discussing on silence they call it a space not an emptiness, presence of the unseen silence which is muted by multiple layers of steel plates and arrested in the warmth of paper leaf in the shades of colour and the deliberate pauses between forms. it is not passive it resists withholds and listens.
The desire and capacity to move from the conscious to the mystical is constant and evident in this group’s explorations. Abhishek Chourasiya has straight dialogue between the tradition and modern consciousness he tries to understand the transformation of real and make belief he further clarifies that they both are so genuine that the creator the spectator and the unconcerned are engaged and realizes that it exists. this very existence is then related with his idioms of artwork and then continuum to exist in us. Siddharth Bettajewargi is the one who has distinctly used natural materials as the medium, viewing nature as his mother and prioritizing environmental concerns above all else. he creates and unleashes various form of human figures in the fallen leaf.
This transformation with the paper- mesh and fallen dry leaf is unique leaving behind interaction of speechless emotions characterized in flexible material. Umesh Chandra Nayak’s sculptures work convincingly challenge the formal nature of academic art, they are deeply personal yet universally resonant with exploration of memory, gender and cultural inheritance. The use of layered metal sheets in his sculptures is intended to symbolize different stages of human behavior, consciousness, and silence, evoking voices from stories that are otherwise inaccessible. It acts as vessels of absence, a carrier of silence. Sustaining each evolving phase of this self-awareness determines the individual contribution to humanity.
Vinod Chachere’s fragments in the work appears throughout the compositions not as ruins, but as carriers of memory. Vinod’s canvas becomes an excavation were meaning needs to be assembled attentively from scattered signs. The silence here is visual and quietness that emerges from muted palettes, minimal gestures, and restrained composition yet it is so conceptual. He believes Fragments and space do not diminish truth they deepen it and carries the viewer into an intimate dialogue. Vinay Bagade’s figures are narrative not through explicit storytelling but through gesture, posture and gaze inspired by lived experiences observation and fragmented memories rooted in traditional figurative techniques.
Vinay blends realism with beautification, often depicting static, emotionally distant figures, with decorative elements floating around as if they are residues of memory or psyche. Virendra Chopde displays his skill in portraying beautiful, elegant, simplified forms highlighted with his distinct style.
https://www.youtube.com/shorts/pVDWriDh0TQ
His paintings emphasize sensitivity of subject and strength of aesthetics, revealing interrelationship of nature and emotion. Chopde’s paintings are the celebratory interpretation of beauty, often featuring dynamic compositions that include flowers particularly “chafa” [Plumeria Flower] which reflect his affinity for nature. His depictions of men, women, flowers, leaf leaves a mark by flat joyous colours and elegant rhythmic lines.
MILIND LIMBEKAR
Artist, Art critic, Art collector
FRAGMENTS OF SILENCE An Art Exhibition By 6 Contemporary Renowned Artists In Jehangir Art Gallery
