Nibedita Dash and Anurekha Jena showcased more than 40 women’s art in Orissa.
On a gentle March afternoon in Sambalpur, when the early summer light seemed to linger just a little longer on the red earth and temple spires, the doors of the Regional Art Gallery at the Lalit Kala Academy opened to something more than an exhibition—it opened to a gathering of voices, stories and quiet revolutions.
Stree Kala 2026 had been envisioned months earlier by two women who believed deeply in the transformative power of art—Nibedita Dash, founder of Skill Tree and Anurekha Jena, founder of Art Anurekha. What began as an idea soon became a movement, shaped by their shared desire to create a space where women artists from across India could not only display their work, but be seen, heard and celebrated. On March 8, International Women’s Day, the gallery came alive with colour and anticipation. The inauguration was marked by the presence of distinguished guests—Prof Mahadev Jalswal, Kumari Shallja, eminent artist Brundaban Maharana, Sabita Nanda, senior artist Bholanath Nayak and social worker Susmita Hota Purohit—each lending their voices to the significance of the occasion. Yet, beyond the formal addresses and ceremonial lamp lighting, it was the art itself that was most eloquent.
The walls carried stories from across geographies— Odisha’s deeply rooted cultural rhythms, the vibrant sensibilities of Bangalore, the spiritual textures of Varanasi. Over forty women artists had come together, each bringing a distinct language of expression. Some works whispered of personal journeys, others echoed collective memory; some were bold and confrontational, while others unfolded with quiet introspection. Among them were guest artists like Saroj Rani from Varanasi, Sabita Panda from Hirakud, Leena Moher from Patnagarh, and Rituparnna from Sambalpur—each a testament to the diversity and richness of contemporary Indian art. Their presence added another layer to the exhibition, bridging regions and perspectives in a shared creative dialogue.
Conversations emerged organically—between artists and viewers, between strangers who found themselves drawn to the same piece, between generations reflecting on how far women in art had come and how far they still had to go. For many artists, Stree Kala 2026, was more than an exhibition; it was a moment of recognition. For others, it was a beginning—a first step into a larger artistic world. And for the organizers, it was the realization of a vision rooted in empowerment and cultural exchange. As the exhibition progressed over the next two days, the gallery became a space of connection—where ideas were exchanged, collaborations imagined and friendships quietly formed.
By the time March 10 arrived, the closing ceremony carried a different kind of energy—one of reflection and fulfilment. Esteemed dignitaries including Dr Pamela Chatterjee, Dr Kalpana Meher, Pradeep Pandey, Janardan Paramaguru, Rajkishore Maharana, Debdani Saha and Dr Sushree Subhaprada Pradhan joined to honour the artists and the spirit of the initiative.
When the final applause faded and the artworks were gently taken down, what remained was something intangible yet enduring—a sense of possibility. Stree Kala 2026 had not merely showcased art; it had carved a space for women’s voices within the larger cultural landscape. And in Sambalpur, for those three days, art had not just adorned walls—it had quietly reshaped the narrative.
