Category: Interviews

Saranjit Singh, mentored by Sardar Sobha Singh, has a family where each member is an artist.

In a world often driven by metrics and milestones, there exists a family whose compass is calibrated to creativity. The Singhs—a family having four creatives, each an artist in their own right, embodies the philosophy that art is not merely a vocation, but a way of life. Their journey, rooted in tradition and nurtured by passion, is a testament to how artistic expression can shape identity, preserve heritage, andinspire generations.

Origins in Ink and Imagination

It began with a boy in Pathankot, whose school notebooks bore not just dictated sentences but vivid illustrations that danced around the margins. Encouraged by his teachers and parents, this boy—Saranjit Singh—soon found himself under the mentorship of the legendary Sardar Sobha Singh in the lush Kangra Valley. The verdant Andretta* in the valley became home to this young boy during weekends. While his peers chased cricket balls, Saranjit chased colour, wielding brushes and spatulas to capture the fleeting poetry of life.

His devotion to art was unwavering. When the Punjab Board mistook his examination landscape for the work of a senior artist, he was asked to replicate it before a committee. The result? Astonishment and admiration. His talent was undeniable.

From Pathankot to Delhi: A Journey of Recognition

The turning point came when B.C. Sanyal, the doyen of Indian modernist art, saw Saranjit’s work and urged him to pursue formal training at the Delhi College of Art. Saranjit earned scholarships for both his BFA and MFA, thriving in an environment that sharpened his skills and broadened his vision.

Marriage brought Manjit into the fold—a studio potter steeped in traditional crafts. Together, they founded Studio Mayll Arts in Saket, New Delhi, and held exhibitions across India. Their shared ethos transformed their studio into a sanctuary of creativity.

Art That Adorns and Preserves

Saranjit’s works now grace the walls of international hotels like the Oberoi, Taj, and Hyatt, and institutions such as UNESCO, UNICEF, and the Delhi Golf Club. His preferred medium is watercolor, though he experiments with acrylics, oils, gouache, and pastels to explore new stylistic frontiers.

But his art is not confined to galleries. Fueled by a love for history, he ventured into India’s interiors—Rajasthan, Madhya Pradesh, Gujarat, Orissa, Punjab, and the Kangra Valley—sketching monuments, Havelis, Baolis, and forgotten architecture. His “on-the-spot” painting sessions became communal events, drawing locals who added their own stories and colors to the canvas.

Art as Heritage and Memory

Saranjit’s work is not just visual—it’s archival. He resurrects the lives of those who once inhabited the structures he paints, placing figures against historically resonant backdrops. His art becomes a bridge between past and present, urging viewers to value and preserve cultural heritage.

His passion echoes the patience of his mentor, Sobha Singh, who took 18 years to paint his Sikh Gurus series. Saranjit followed suit, creating his own Guru collection, which was inaugurated by Shri Khushwant Singh at Le Meridien on Baisakhi.

Echoes from the Archives

Three handwritten documents further illuminate the family’s ethos:

A 1976 Hindi note records a humble financial transaction between Mool Chand and Ram Kumar, underscoring values of trust and accountability.

A Gujarati school essay paints a heartfelt portrait of Khambholaj village, celebrating its people, festivals, and landscapes—an echo of Saranjit’s own rural inspirations.

A 1977 letter from R.L. Muni, Vice Chairman of Lalit Kala Akademi, commends a young Suresh Sangle for his dedication to traditional art forms, reflecting the generational transmission of artistic values.

Looking Ahead

Saranjit’s journey continues. He plans to explore South India, including the Andamans and Nicobar Islands, and has been invited to document Maldivian heritage threatened by environmental imbalance. His mission remains clear: to paint, preserve, and provoke thought.

In the Singh household, art is not a profession—it is a pulse. It flows through generations, across mediums, and into the hearts of those who encounter it. Their story is not just about brushstrokes and exhibitions; it’s about how art, when lived fully, becomes a legacy.

* About Andretta

Andretta, nestled in Himachal Pradesh near Palampur in the Kangra District, is both a serene village and a renowned artists’ enclave. Its transformation into a creative hub began in the 1920s, when Irish theatre artist and environmentalist Norah Richards relocated from Lahore and laid its cultural foundations. Set against the majestic Dhauladhar range of the Himalayas, Andretta has since become a magnet for celebrated painters, theatre professionals, and in recent years, skilled potters.

By Neeta Lal

In Bulgaria’s sun-warmed southwest, at the foot of seven mountains near Melnik, AYA Winery is quietly reshaping what a vineyard can be. Here, the rows of vines are more than agricultural geometry—they are part of a living, evolving gallery. Sculptures punctuate terraces, minimalist pavilions frame panoramic views, and tasting rooms double as white-cube spaces where bottles and artworks coexist in dialogue. At AYA, wine and art are inseparable: both ferment slowly, both respond to the rhythms of the land, and both tell stories of time, place, and human creativity.

AYA: A Vineyard as Living Sculpture

AYA’s architectural design, by Bulgarian architects, blends seamlessly with the natural terrain. Terraced slopes, reflective water features, and glass facades are not merely functional—they are sculptural gestures that harmonize with the landscape. Within this framework, the estate’s vineyards and cellars serve as exhibition spaces. Bronze and
stone sculptures by emerging European artists inhabit courtyards, while indoor galleries rotate multimedia installations, paintings, and digital art inspired by the surrounding terroir. Art Director Irena Gergova describes the estate as “a place where creativity ferments alongside the grapes—both undergo transformation, both express the spirit of the land.”

Global Experiments in Wine and Art

AYA is part of a growing international movement that positions vineyards as galleries. In Provence, Château La Coste has long demonstrated how art, architecture, and viticulture can merge. Its 500-acre estate features sculptures and pavilions by James Turrell, Louise Bourgeois, and Tadao Ando, inviting visitors to traverse the landscape as if through an open-air museum.

In Spain, the Marqués de Riscal winery in Rioja has become an icon of postmodern architecture. Frank Gehry’s titanium-clad hotel, a shimmering blend of pink, silver, and gold ribbons, towers over Elciego, transforming the winery into a sculptural landmark where art, design, and wine converge. Meanwhile, Antinori nel Chianti Classico in Italy takes a subtler approach: its hillside winery, designed by Archea Associati, disappears into the land, green roofs planted with vines, interiors suffused with natural light, reflecting centuries of winemaking wisdom through contemporary architectural sensibilities.

Toward an Immersive Future

The future of vineyards as galleries promises ever more immersive encounters. Expect multisensory installations that incorporate scent, sound, and movement; artists-in- residence who live through the harvest season, participating in the cycle of growth; and curated tastings choreographed around performances and exhibitions. As climate and landscape evolve, art will increasingly act as witness, translating ecological change into visceral, human experience.
At AYA, this philosophy is tangible. Its vines yield seasonal vintages, while its galleries evolve in tandem, creating a continuous dialogue between nature, art, and human curiosity. Sculptures, installations, and curated spaces shift with the light and seasons, ensuring that each visit is unique. Here, wine and art are not commodities to be consumed—they are experiences to be inhabited, tasted, and felt.

Across continents, the vineyard-gallery movement is unified by one guiding principle: both art and wine celebrate transformation, impermanence, and the ingenuity of the human spirit. AYA Winery exemplifies this vision, proving that a vineyard can be both a source of liquid craftsmanship and a canvas for the imagination. In this new era, the boundaries between tasting, seeing, and feeling dissolve, inviting visitors into a shared communion of senses and creativity—where the future of wine is inseparable from the future of art.

BIO: Neeta Lal, formerly Senior Editor TOI, India Today and The Asian Age,  is a SOPA-nominated journalist exploring the intersections of art, culture, travel and gastronomy in South Asia and beyond. She has travelled to 75 countries and her work has appeared in over 150 publications including Forbes, Fortune, SCMP, The Guardian, BBC Travel, Travel & Leisure, Foreign Policy, Global Asia, NatGeo, The National, Gulf News, Khaleej Times,  Nikkei Asia, and many more.

By NEETA LAL

Sofia: For the second consecutive year, Bulgaria’s capital, Sofia, has taken its place on the international cultural map by hosting the Sofia Art Fair (SAF) from October 2–5, 2025. As the largest contemporary art event in the country, the fair is rapidly becoming not only a platform for showcasing art, but also a sustainable bridge between culture, education, and international cooperation. Bringing together galleries, institutions, curators, and artists from across Europe, the Sofia Art Fair transformed the city into a vibrant hub of cultural dialogue and exchange. The event signals Sofia’s growing ambition to join the ranks of established European art capitals, while highlighting Bulgaria’s unique potential as an emerging center for creative innovation.

“Our goal for Sofia Art Fair is to be a place where art is not just shown, but shared – as ideas, visions and experiences,” explained Suni Danadzha, Executive Director of the Sofia Breathe Foundation and founder of SAF. “Through SAF Talks, we want to build a bridge between different cultures and generations and establish Sofia as an active participant in the global art dialogue.” This philosophy was echoed by Stephan Stoyanov, Board Member of the Sofia Art Fair, exhibitor, and prominent voice on the European art scene. He emphasized that the fair’s mission is to help redefine Bulgaria’s contemporary art landscape by showcasing bold and diverse artistic voices, fostering intercultural dialogue, celebrating unique creative expressions, and supporting the growth of the Bulgarian art market. Both Danadzha and Stoyanov stress that SAF is not simply about market transactions, but about embedding contemporary art in broader social and cultural transformations.

Under the patronage of Vasil Terziev, Mayor of Sofia, the fair welcomed representatives from thirteen countries, with leading European galleries, curators, and artists converging on the Bulgarian capital.

“The fair aspires to create a dynamic contemporary platform where artists and collectors can connect, showcase their talent, and contribute to shaping the cultural landscape of contemporary art.

It aims to be a vibrant space for modern creators—an essential milestone in the evolution of this vision,”elaborated Terziev.

Sofia is already emerging as a hub for artistic expression, he added. “This fair strengthens its position as a key destination for contemporary art on the international stage.”

The 2025 edition revolved around the initiative “Imagine More,” which highlighted forward-looking curatorial projects and thematic programs. Among the highlights was the exhibition “Expanding Perspectives,” a curatorial project by the platform Art and Culture Today, exploring how contemporary art can challenge social and cultural boundaries. Another significant initiative was “Artists in Focus,” dedicated to sculptural, object-based, and installation works that provided immersive encounters and expanded the fair beyond traditional two-dimensional mediums. A Creative Kids Zone invited younger audiences to engage with art in accessible and imaginative ways, while the series of SAF Talks and Dialogues brought together artists, curators, and cultural leaders to debate pressing issues of global significance.

The fair also benefited from the participation of internationally renowned artists, such as Gabriela Habsburg, who attended for the second time. She praised SAF’s spirit of inclusivity and its role in uniting communities. “In a world torn apart by violence and politics, art can be a wonderful bridge to bring people together. This is where professionally organized events like the Sofia Art Fair can play a catalytic role in uniting artists and other creatives to foster change,” she observed.

Sofia’s ambition to establish itself as a contemporary art hub is closely linked to broader trends in European art. While Art Basel or Paris Photo have long dominated global attention, newer fairs such as Sofia’s show how regional capitals can redefine the cultural geography of the continent. Compared to Art Basel in Switzerland – regarded as the world’s most prestigious art fair, where high-value sales and celebrity collectors often define the atmosphere – Sofia offers a more egalitarian and accessible model. Here, the emphasis lies less on record-breaking auctions and more on building sustainable networks between artists, institutions, and audiences.

In contrast to Frieze London, known for its cutting-edge installations and international glamour, Sofia Art Fair emphasizes inclusivity and intercultural dialogue. While Frieze attracts top galleries and collectors with established global clout, SAF positions itself as a space for discovery, where emerging voices and experimental practices stand shoulder to shoulder with established European names. Another fair that offers an interesting comparison is Vienna Contemporary, Central Europe’s leading art fair. Vienna shares with Sofia a geographical and cultural positioning at the crossroads of East and West. Yet while Vienna benefits from a long tradition and reputation as a cultural powerhouse, Sofia distinguishes itself by offering new perspectives from Southeastern Europe, a region historically underrepresented on the global art stage.

For Bulgaria, the Sofia Art Fair is not only about cultural prestige but also has a strong economic and diplomatic dimension. By hosting international artists and institutions, the fair helps position Sofia as a destination for cultural tourism, attracting visitors who are interested not only in the city’s historical architecture and natural beauty but also in its evolving creative identity. As Stephan Stoyanov underlined, part of SAF’s long-term strategy is to invest in creative initiatives that inspire change in business, art, and society. This approach underscores the role of art as a form of cultural diplomacy – a tool for building bridges between nations while supporting domestic talent. The Bulgarian art market, though still in development, stands to benefit immensely from such exposure. Local galleries and artists gain opportunities to connect with international collectors, curators, and cultural institutions, while the fair itself acts as a catalyst for professionalization and global visibility.

The rise of Sofia Art Fair reflects a broader shift in how contemporary art is perceived and consumed. Audiences today seek more than just spectacle; they want engagement, dialogue, and meaningful cultural exchange. Sofia, with its unique blend of history, geography, and ambition, offers fertile ground for such encounters. Moreover, in a world where cultural centers are becoming increasingly decentralized, the emergence of fairs like SAF signals that Europe’s art landscape is no longer dominated exclusively by Paris, London, or Basel. New voices, new regions, and new audiences are reshaping the scene, making it more diverse and democratic.

As it completes only its second year, Sofia Art Fair already shows promise of becoming a fixture on the European art calendar. Its emphasis on dialogue, inclusivity, and discovery sets it apart from older, more commercial fairs. The challenge ahead will be to sustain momentum, attract a wider pool of international participants, and secure Sofia’s place alongside the continent’s cultural heavyweights. If the current trajectory continues, SAF could well become not just Bulgaria’s flagship art event, but a leading platform for Southeastern Europe – a region with immense creative energy waiting to be tapped.

The Sofia Art Fair 2025 demonstrates that Bulgaria is ready to claim its place on the global cultural map. By fostering intercultural exchange, supporting emerging artists, and reimagining what an art fair can be, Sofia is carving out a distinctive identity – one that complements, rather than competes with, Europe’s leading art capitals. As Gabriela Habsburg observed, in an age of division and conflict, art fairs like Sofia’s remind us that creativity remains one of humanity’s most powerful tools for dialogue, unity, and change.

BIO: Neeta Lal, formerly Senior Editor TOI, India Today and The Asian Age, is a SOPA-nominated journalist exploring the intersections of luxury, sustainability, and wellness in South Asia and beyond. She has travelled to 75 countries and her work has appeared in over 150 publications including Forbes, Fortune, SCMP, The Guardian, BBC Travel, Travel & Leisure, Foreign Policy, Global Asia, NatGeo, The National, Gulf News, Khaleej Times, Nikkei Asia, and many more.

Neeta Lal
Mobile: +91-9810297666

N Kalyani interviews Jyotirmoy Bhattacharya, art historian, researcher, and curator of hand-painted postcards’ exhibition.

Earlier this year Sangeet Shyamala’s Surrendra Paul Art Gallery hosted an exhibition of postcards, in New Delhi, entitled Bengal School Painted Postcards. The exhibition was curated by Kolkata based Jyotirmoy Bhattacharya, the well-known art historian, researcher, and curator. In an interview with him, N Kalyani discovers how these postcards are of interest to the artist, the historian, the philatelist, anyone. Postcards have always been an interesting and inexpensive way to communicate and correspond with family, friends, and acquaintances. Bright, colourful postcards were always collectibles. Sometimes they came in from foreign countries with collectible postage stamps too. It isn’t without reason that ‘picture postcard’ is a term used to mean a perfect setting, a perfect picture, an idyllic place.

The popularity and all-pervasiveness of postcards may have fallen in a big way today with speedy communication means offered by modern technology. But postcards remain a part of yesteryear’s memories. And postcards are still an interesting and an inexpensive way to communicate, with a personal touch and an old-world charm. Even today there are postcard collectors. Read on to discover more about the Bengal School Painted Postcards exhibition…

There were 56 postcards displayed at the Bengal School Painted Postcards exhibition. It felt like a rewind as we go back in time to an era of postcards. Doesn’t it?

Communication has undergone a revolutionary transformation over the last two centuries. Today, we live in an era of instant messaging through email and texting. However, there was a time when handwritten letters were the only form of communication. These letters, though often delayed, carried a deep sense of personal attachment and emotional resonance.

As with everything in our world, the art of letter-writing also evolved. In the late 19th century, postcards became the new norm for communication. Postcards often featured illustrations or photographs, introducing a new form of storytelling and memory-sharing.

Please tell us more about the postcards displayed. How did you procure them?

I procured these from private collectors in Kolkata. All these postcards were sent to just one person, Pulin Behari Sen, who was one of the Directors of the Visva- Bharati Granthan Vibhaga, the internal publication department at Santiniketan. Several students from Visva-Bharati sent him there postcards. I collected these postcards from private collectors who had access to the Pulin Behari Sen Estate collection. The artists were unknown to me, but their art and style caught my attention, reminding me of the modern Bengal Art School. This inspiration led me to gather these postcards and conduct further research on them. I plan to publish a book by the end of the year.

What kind of postage do these cards carry? Please tell us something about this.

The postcards have both printed postages on them and, manually stuck stamps. The postage is all Indian, and of various denominations.

Please tell us how these cards are designed. What is the material of the cards?

These are all normal Indian postcards. The cards are not designed; artists have just drawn on them. The colour and material is similar to that of parchment.

These postcards are not ordinary; in my opinion, they are made of acid-free paper. The quality of the postcards is exceptional—they have withstood various hands, different weather conditions, and the distances they have travelled without showing any damage.

Are they watercolours, oils, or acrylics? What are the various media used for the artworks?

The medium used to draw on the postcard varies. Some are done using watercolours, some with ink, and others with tempera.

What are the themes of the paintings/artworks?

They do not adhere to a specific subject. They are mainly landscapes and some are untitled.

Please tell us something about the genesis of these postcards with such artworks.

During this period, Bengal was witnessing a cultural shift with the rise of art. The Government School of Art was established in 1854, and around the same time, Rabindranath Tagore was developing Shantiniketan. Several young students, including Abanindranath Tagore and Nandalal Bose, joined these institutions. The students of these schools often communicated with each other through postcards, many of which featured beautiful illustrations that enhanced their appeal.

Several postcards by Nandalal Bose have been discovered, filled with exquisite illustrations. In this exhibition, we showcase the postcards of Bose’s students, such as Satyen Bishi and Shailesh Deb Barma, written to Pulin Behari Sen. Through this collection, we honour the art of postcards and the creativity of these talented artists.

What inference can be made from the themes portrayed on the cards?

The artists used to draw pictures on the postcards to send them to friends and family. They weren’t always intended for a particular person, it was just a part of their artistic expression.

The text on the postcards is handwritten. Please tell us something about the text on the cards.

The writing on the postcards is by the artists who painted the pictures. All the letters are to one person, and they reflect conversations between friends.

The platform has showcased over 35,000 artworks and generated more than `11.5 crore in revenue.

In a culturally vibrant country like India, art serves as a timeless medium to express tradition, emotion and evolving identity. Within this rich artistic backdrop, The Haat of Art has emerged as a beacon of hope for creativity, bridging the gap between artists and admirers through a series of exhibitions. What began as a modest effort has grown into a nationwide movement that redefines how art is appreciated.

Three Cities, One Vision.

So far, The Haat of Art has hosted seven editions—three in Delhi, two each in Mumbai and Bengaluru—drawing over 50,000 visitors and exhibiting more than 35,000 artworks. With participation from 2,000+ artists and sales exceeding `11.50 crore, it has become an empowering platform for emerging and established creators alike.

Each edition has reflected a deep commitment to inclusivity, curation and artistic excellence. From traditional Indian folk art to modern and digital expressions, the exhibitions are curated to celebrate the full spectrum of creativity. The events have attracted not only art lovers and collectors but also dignitaries and celebrities, amplifying the platform’s reach and prestige.

Star-Studded Appearances

The exhibitions have been graced by a host of influential personalities including the governor of Karnataka Thawar Chand Gehlot, Minister of Culture Gajendra Singh Shekhawat, Minister of State for Tribal Affairs Durga Das Uikey and IPS officer Priyanka Mishra. Bollywood celebrities like Falguni Pathak, Puneet Issar, Aditi Govitrikar and Mukesh Rishi also lent their star power to the events, adding glamour and drawing widespread attention to the showcased art.

Artists and Audiences Together

The platform was born out of a simple yet powerful idea: to empower artists by providing them with visibility and sales opportunities. With strategic planning and a community-first approach, The Haat of Art created a unique space where seasoned collectors, first-time buyers and curious onlookers could interact directly with artists. In this, Vindu Dara Singh is the mentor, and Jyoti Yadav is the founder of The Haat of Art, who envisioned the dream and has executed it so far — and the journey has only just begun.” And ADCP Dr Seema Alawa Indore who are supporting Tribal Art and artist Through live art demonstrations, interactive workshops, and thematic installations, each show became more than just an exhibition—it became an experience. This strategy helped the brand carve out a distinctive space in India’s bustling art landscape.

Defining Standards

Breaking into India’s competitive art and exhibition industry was not without hurdles. From logistical barriers to gaining the trust of the art community, the journey demanded perseverance and innovation. But the team behind The Haat of Art remained focused on their mission, delivering well organized events that consistently raised the bar. Their success has inspired a shift in the way exhibitions are conducted across the country—placing emphasis on artist empowerment, immersive experiences and professional execution.

Industry Impact

The Haat of Art has significantly contributed to the Indian art ecosystem by:

• Reviving interest in both traditional and contemporary art forms.

• Fostering collaborations between artists, buyers, and galleries.

• Setting new standards in event quality, professionalism and outreach. It has evolved from being a marketplace—it is now a melting pot of ideas, connections, and artistic dialogue.

Expanding Horizons

With its sights set on the future, The Haat of Art is preparing to scale new heights. Plans include expanding to new cities like Indore, introducing international collaborations and launching digital art showcases to connect with global audiences. Every new edition promises richer experiences, more artist opportunities and broader public engagement. The Haat of Art is not just a success story—it is a shining example of how vision, passion, and determination can transform an industry. By championing creativity and community, it continues to build a legacy that uplifts artists, captivates audiences and brings the soul of Indian art to the forefront.

In this, Vindu Dara Singh is the mentor, and Jyoti Yadav is the founder of The Haat of Art, who envisioned the dream and has executed it so far — and the journey has only just begun.” And ADCP Dr Seema Alawa Indore who are supporting Tribal Art and artist.

Well-known artist Asma Menon bridges the gap between her ancestral roots and contemporary art practices.

Hailing from Chennai and Bangalore, Asma Menon was born in Chennai in 1961 and holds MA in Fine Arts from the Government College of Arts and Crafts. Asma has gained recognition both nationally and internationally for her skili in painting and printmaking. She creates fantasy in a mythical land with trees, animals, humans and divine figures in an ephemeral plane that unites her spirit within the galaxies. The feminine form in her compositions create spiritual cadences to convey mythological quotations.

The artist manages to bridge the gap between her ancestral roots and present day contemporary art practices. Her works have been featured in more than 10 solo exhibitions and 50 group exhibitions, including creating a presence in auctions at the prestigious Christie’s. For more than 25 years, her art has illuminated and emphasized both the ancestral and contemporary Indian character, in a uniquely intertwining myth to everyday life, through her artistic expression. Asma has published her collection of short stories, titled, Moonlight Baby. She has been awarded a Senior Fellowship from the Government of India, Ministry of Tourism and Culture, for the period of 2005 to 2007.

MKF Museum of Art, a private art museum in Begaluru will be showcasing ‘SACRED SPACES’ by Asma Menon from July 19 to July 31, 2025. The show has been curated by Shirley Mathew. MKF Museum of Art is the legacy left behind by the (Late) Manjushree Khaitan, a great patron of art, which showcases selected artists popular among art aficionados other than its permanent collection.

Team Art Soul Life peeks into the life and works of the celebrated artist Asma Menon:

Q. Who or what is the source of your inspiration?

Inspiration is a misnomer, for myself as an artist, the various reflection of life and the Time Passages, play a crucial role. Evolving and not remaining stagnant is the journey. I have always been an artist. Childhood on I was most happy with art materials, paper and oil paper. Formal classes began with Balan Nambiar from the 4th standard onwards, till joining the College of Arts and Crafts Madras. Nature, water and the other elements, abound in my works. I take from these elements, to feed my passion. Travel too plays an important role, both physically and metaphorically. Every, new Landscape, a moment in space, silence, add to the catalogue of images of the mind. I am a gatherer of poems, stories, scholarly documents and books, the sound of rain, the fragrance of water on parched earth, the shift in moods, akin to being highly alert of one’s presence, not forgetting the shadows.

Q. What makes you so deeply interested in Divinity?

I grew up in a highly secular home. My father could quote from the many books of religious texts. Among my earliest memories, is Amar Chitra comics, the Children’s Bible, with fabulous pictures, Greek mythology, and Sufism. Rumi, Attar and Shams, went hand in hand with Kali, Siva, Vishnu and the plethora, added to all of this is Jesus, Adam and Eve and one of my stories I resonated with was Ruth amongst the alien corn. I am quite different from my siblings.

I visit old churches, with stained glass windows, the light that streams through is divine while Gregorian chants, consumes one. One’s heart fills with joyand the trembling of emotions, as also does the sound of the Azan from a voice of Middle Eastern tenor, on to listening to MS Subbalakshmi singing the Suprabatham.

I am not a scholar, just a voracious reader, the more I read, the more I realise that I am still at the tip of the ice berg. How can one not be influenced and be moved from all of the above? It is entrenched in my soul.

Q. How do you express your thoughts in your works?

Let’s talk about my current series to answer the questions. I came to live in Thiruvannamalai six years ago, the place I had first visited 15 years ago, when on a whim, I bought a small plot of land. This, as the parlance goes, has been a game changer. Thiruvannamalai and its surrounding districts, team with monuments from the BC era. On my scooter, I had gone, on my ‘Get Lost’, trips. Taken photographs, of Arunachala, Hero Stones, the small village crumbling temples, the massive terracotta horses, the megalith of B.C. era, a field full of terracotta, stucco dogs, Mariamma, ponds, and so much more. I was still not ready to convey this jigsaw of images, villagers I had met and heard their stories. It took me three years, closer to four, to delve into my mind, to in turn create visual images. I remember, sitting at a Sacred Forest (they are dying out to land grabbers), sipping tea and smoking cigarettes, when Voila, I felt a charge, my arms were fizzing. I knew, I had finally ‘arrived’!

Q. What is your connect with the ephemeral and the galaxies?

Never ever ignore one’s instincts. Listen to them carefully. What does it speak? Many a times I have ignored and brushed it aside, denying myself the reality. What a price to pay! A story belongs here… At an art camp in India, there was a Turkish artist. One evening, he decided to hold the Parlours Game of reading the Coffee dreg. At that time I was living in Chennai. The time was a rough one. Anyway, my turn came. I was told things of such personal disaster, I came out weeping. A few years later I was invited back to Turkey for an art camp.

I had just moved to Thiruvannamalai and the host artist being the same as mentioned, was under the impression that I still lived in Chennai. I requested that my coffee dregs be read again. He prepared the coffee, as is the custom. When my cup was looked at, the first words out of his mouth was, “ you are protected by a mountain…”. now if that’s not ephemeral, then what is? Where the galaxies are concerned, I am more connected to the Void. And the Void to remain thus. Enjoy the emptiness. I am more connected to the Moon. The moon goddesses, the trinity that exists. Brahma, Vishnu and Siva, Allah, Mohammed and Ali. God, Jesus and the Holy Spirit.

Amongst women, one such is Mother Mary, Mary Magdalene, Mary sister of Lazarus, who was bethrow of Jesus. The trinity that exists in the galaxies, in myths, spiritual and religious are a source of power. I read the Tarot, only when the Cards Call Me.

Q. What is the connotation of the female form in your works?

The female form, predominately is the “Mother”. Women by and large, have an innate, sense of being nurturers. The metaphorical, womb is never empty. It can be anything and everything. When the mermaid or siren appears in works (I use it more in my scribbles and drawings), that’s me. The balance of the day to day conscious living and then delving into the depths of the mystic. This latter half is my artistic self. The woman is always multitasking. It’s important not to forget oneself . Take time out to be with one’s self. Be it an early morning cup of tea or enjoying the sunrise. All quiet. At peace.

Q. How do you explain your similarity with Pandora?

Pandora, was created by Zeus. The first woman. She was created, as Prometheus, stole fire from the gods. This enraged Zeus. Prometheus’s brother married Pandora, against all warnings. But the gods and goddesses, bestowed on Pandora a crown, a living crown, that held all the world. Zeus sent her, with beauty, charm and curiosity.

And above all a flagon, containing all the evils and illnesses to release into the world. Of course, Zeus, told Pandora not to open the flagon. Oh what a trick he played. We know, she removed the cork from the flagon but hope remained, trapped. Humankind suffered. But the enduring nature of Hope brought a glimmer of resilience and the ability of continuing for humans to exist, in the face of any and all adversity. Don’t we all Hope?

This curiosity as an artist, makes one walk where angels fear…to take on any and all challenges, to seek, to find, whatever the end is …Or is it a Beginning?

Q. How would you explain the technique of your art?

Technique is technique. It’s a skill learned at formal training in Art. The question is, how does one apply these techniques, absorb them to create one’s own visual language. The complete control over materials and technique, leads an evolving process through years of painting, drawings, printmaking, sculpture and so on. Loading a brush with three colours to apply, one experiments, as one does some form of art every day. For Art is a jealous lover. A small area of a stroke on the canvas, unknown /unfounded, leads one to explore. As TS Eliot , in the Four Quartets writes…”We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time…”

Q. Comment on your association with children and your philanthropic activity?

From the mouth of Babes, is oft quoted line. Never ever forget the Child in oneself. Children, are wonderful to interact with. They are a fount of truth, sensitive to atmosphere. Do not lie to them, they absorb what’s around them. They have fantasy friends, which are more real than the humans, they live with.

Their attention span during an activity is about 20 to 30 mins. One sits with them, not higher up. One talks to them, draws, discuss art from books, take them to galleries. Show them a world outside their bubble. Expand their view, and let them ask, why why why …

At a time when I was taking art classes for children from ages 8 to 12 at home, the first thing, I had informed parents was, that your child may not win prizes at school for art or become great artist. (Talent, I can certainly spot! ). But they will learn to look at art, perhaps be art writers or the best…have a grand time. One anecdote, is of a boy who was very mischievous and a true delight. I had gone into the kitchen to get the children their fresh juice and salad. When I returned, there was no sign of the boy. I panicked. I noted that my bedroom door was closed, I went in and there he was lounging on my bed with the TV turned on. I asked him, what he was doing. He coolly replied…Asma I don’t feel inspired to work today…!

Well well well, like I said , from the mouth of babes. I am not a philanthropist in the true sense of the word. I help out, volunteer and have held workshops, in areas that interest me. HIV/AIDS. The LGBTQ. Physically challenged and mentally challenged. I have learned so much from them. Ever heard stories of their lives? They say it in a matter of fact fashion. They don’t want pity. That’s for sure. I come back from these sessions; some have been quite decadent, feeling euphoric. The backbone grows stronger and the spine is straight. With them, there is no web to weave. They are human.

With endeavours of artists like Neelam Nirad, Jadopatia is finally gaining ground, says Mohit Mishra.

Recapturing a Fading Vision

Within the rich mosaic of Indian culture, where each region has a story of its own to tell through its art, the Jadopatia School of painting from the Santal Parganas of Jharkhand is a singular visual language. Born out of myth, ritual and word of mouth, the indigenous tradition of scroll painting was on the brink of disappearance. With the tireless endeavours of some artists and cultural resurgence activists, Jadopatia is finally gaining its position in modern-day art. One of them is Neelam Nirad and her guru and husband Dr RK Nirad who, although not from the tribal community, are major champions of this art form today.

A Tradition of Myth and Magic

The name Jadopatia has its origins in two factors: Jado, the name of a sub-group of the Santal tribe who were traditionally associated with this art form, and Patiya meaning scroll. Hence, Jadopatia simply means “the scroll of the Jado people.” Gradually, though, another interpretation arose, associating the name Jadopatia with the Hindi term “Jadoo” meaning magic, creating the image of the Jadopatias as “magical painters” bringing myths to life through pigment and brush.

These scrolls have been used for ages not only as works of art but also as ritual aids. Traditionally, the paintings were done on long pieces of paper or cloth scrolls, depicting tribal creation mythology, folk tales, death ceremonies and even moral fables. When a person in a village dies, a Jadopatia painter documents the lifeand spiritual journey of the deceased. Interestingly,they would first leave the eyes of the portrait blank —only painting them subsequently after telling the story, metaphorically bringing back life to the deceased soul.

This reminds one of the 20th century Italian painter Amedeo Modigliani, who often painted figures withblank or incomplete eyes, a hallmark of his style. He believed eyes were “windows to the soul,” and onlypainted them fully when he felt he truly knew the subject. Jadopatias were not only painters but alsoentertainers — storytellers who would roll out the illustrated scroll as singing and unfolding the stories, rendering the experience immersive.

Revival and Reinvention

Around 1990s, the art form, as with so many of the indigenous ways, had almost completely vanished. The younger generation of tribal had no interest or motivation to keep it going. In villages, fear and mistrust clung to contact with outsiders trying to document or revive the art. “When we first went to meet them, they would hide inside their homes,” says the artist Neelam Nirad. “They were afraid we would lie to or hurt them. It took lengthy interviews, pictures, and numerous visits to gain their confidence.”

Dr RK Nirad, who is both a cultural historian and the artist’s mentor, is instrumental in establishing the tradition more formally and rechristening it as Jadopatia. He is responsible for creating a platform where traditional artists and non-traditional artists cancome together, showcase their work, and impart their learning. The spirit of collaboration was imperative, given that a lot of the original practitioners had transitioned to other types of labour to survive.

In spite of being an outsider to the tribal community and a female in a man’s world, Neelam Nirad paved her own way. “Earlier, it was primarily men who used to do this art,” she observes. “But I have devoted myself not just to keeping it alive but developing it.”

Artistic Process and Evolution

Now, she works in both traditional and modern mediums. In traditional work, she creates natural colours through old techniques — green using leaves pigment, red using flowers, black using soot or carbon, orange using palash flowers, and brown using stones. The medium or glue is usually prepared with bel (wood apple) or sahjan (drumstick tree) resin. Scrolls are also still sewn by hand with cloth or paper, respecting theoriginal form. Currently, she has accommodated newermaterials — painting on canvas, handmade paper,acrylic boards and using commercial brushes and colours only when necessary. Themes are still rooted in Santal ethos.

Creation myths or Karaam Binti, seasonal ceremonies such as Sohrai and Baha, and symbolic flora and fauna — all still find a place on her canvas. Even when coated onto coasters or digital prints, the spiritual and cultural depth is retained. She also makes a difference between Jadopatia and other scroll art traditions suchas Bengal’s Patachitra or Bihar’s Madhubani. “The style and the people are different,” she points out, “but just like those forms gained international recognition, Jadopatia will be equally popular.”

From Margins to the Mainstream

Jadopatia’s path from oblivion to acclaim is one of cultural tenacity and artistic determination. The initiatives of individuals such as Neelam Nirad, who received fellowship by the Indian government, and mentors such as Dr Nirad, have not only preserved the tradition but brought it to a broader audience — from government-funded festivals to national art museums.

Neelam Nirad has the vision of a dedicated Kala Gram — an artists’ village where artists can reside, work and impart their knowledge, making heritage a source of livelihood. She further supports the inclusion of indigenous art forms in school curriculums and CSR programs to promote them. “If we can revive Warli and Gond, why not Jadopatia?” she argues, with justifiable hope. In an era when digitalization and urbanization risk obliterating folk memories, Jadopatia reminds us that real magic is in stories well told, brushstrokes well drawn, and traditions well passed on.

From biscuit tins to toothpaste dreams, the Ad Art Exhibition at IGNCA offered more than nostalgia, says Neelam Gupta.

From biscuit tins to toothpaste dreams, the Ad Art Exhibition at IGNCA offered more than nostalgia—it marked a cultural recognition of Indian advertising as a legitimate art form. Celebrating advertisements from 1950 to 1990, this first-of-its-kind exhibition captured the evolution of marketing, creativity and society over four transformative decades.

Organised by the Indira Gandhi National Centre for the Arts (IGNCA) in New Delhi, the Ad Art Exhibition held from March 25, 2025 to April 4, 2025 received such an overwhelming response that its run was extended by a week. Curated by Iqbal Rizvi and supported by IGNCA the exhibition showcased a treasure trove of vintage ads. It recognized advertising not just as commercial messaging, but as a dynamic and evolving art form that has shaped popular culture and societal narratives in India.

“The world is progressing through advertising,” said Dr Sachchidanand Joshi, IGNCA’s member secretary, in his inaugural message. He questioned why, in a field brimming with artistic diversity and innovation, advertising should not be celebrated as a distinct art form. “Advertising is not just a film. It is an independent and evolved creative discipline,” he affirmed. The exhibition was a significant step toward archiving India’s advertising history. Joshi emphasized the urgent need for systematic documentation of this field, citing how advertising reflects social change—such as the decline of fairness cream ads and the normalization of sanitary pad commercials—yet remains under-documented.

A Curator’s Journey

Iqbal Rizvi began collecting vintage ads while working on a film archive project at IGNCA. “While browsing through old magazines, I discovered rare ads that felt like cultural gems,” he shared. What started as an idea for a book soon grew into something bigger when Joshi expressed his own longstanding interest in preserving ad films and print ads. Though some material had already been handed over to the Film Archives of India, Rizvi got the green light to begin curating what would become the Ad Art Exhibition.

His year-long research unearthed a wealth of material from magazines and print sources, which formed the backbone of this unique showcase. The 1950–1990 timeline was chosen simply because it offered the richest and most complete collection.

Rizvi added that this is only the beginning—future phases of the project aim to archive newer styles, mediums and regional advertising trends to build a comprehensive national repository.

Beyond the Gallery

Anurag Punetha, media controller at IGNCA, spoke about the institution’s broader vision. “This isn’t just about collecting old ads,” he said. “We are building India’s first structured archive of advertising creativity.” Through exhibitions, interactive experiences, and scholarly discussions, IGNCA hopes to create a world-class resource for researchers, professionals, and students alike.

The goal is global: to ensure that Indian advertising receives recognition on par with Bollywood and Indian literature on international platforms, including universities, museums and advertising forums. IGNCA invites industry veterans, copywriters, designers and brand custodians to contribute to and help shape this living archive.

Global Inspiration

The IGNCA initiative echoes similar movements abroad. For instance, the Ad Art Show in New York—launched by Sotheby’s seven years ago—has drawn increasing attention from the international art world. It celebrates creatives who began their careers in advertising and now command respect as fine artists. As Joshi pointed out, IGNCA’s project might be modest in comparison, but it is undoubtedly on the right path.

A Walk Down Memory Lane

Walking through the exhibition felt like flipping through the collective childhood of a generation. One visitor shared how seeing the JB Mangharam biscuits ad brought back vivid memories. “The excitement I felt as a child when my father brought home those colourful biscuit tins returned in an instant. The biscuits—each in a different shape—were as unforgettable as the box itself, which was never discarded but reused for storing needles, threads, even jewellery. That’s the kind of emotional connection advertising creates.”

Another captivating piece featured a rustic character smoking a hookah, dreaming of a better solution—Binaca toothpaste. With the bold tagline “Smoker’s Dream,” the ad cleverly linked oral care with habit, a bold move for 1954. “I’ve seen many Binaca ads over the years, but this one was truly striking in its storytelling,” said the visitor. The exhibition also showcased the evolution of iconic brands. From Lux soap’s long-standing tradition offeaturing film stars—from Devika Rani to modern divas— to Bata shoes and Cherry Blossom polish adapting to fashion trends, each ad reflected its era’s aspirations and aesthetics. A 1969 DCM ad titled “Fashion Mein Kranti” showed a young Zeenat Aman, gun in hand, symbolizing a bold, new wave of confident Indian women—long before she became a Bollywood icon.

More than an art show, Ad Art is a cultural timemachine—bringing back long-lost memories while alsocharting the rise of a powerful industry that shaped how India saw itself and the world. It reminds us that advertising is more than persuasion; it is reflection, aspiration, and art rolled into one. And perhaps, as this exhibition rightly suggests, it’s time we start preserving it as such.

About the author: Neelam Gupta is an author and bilingual senior journalist. Her writeups have appeared in dailies like Indian Express and Jansatta.

Nila Madhav Sahoo preserves the traditional art by using contemporary themes, says Shabiha Nur Khatoon.

The first thought that crosses the mind when someone talks about the ancient city of Puri, is beach and temples but that is not all, Puri is also famous for its age-old art form known as Pattachitra. The art form which was primarily made on cloth or palm leaves dates back to 12th century and was used for religious rituals. With the passage of time these paintings became beautiful souvenirs for pilgrims.

One of the major characteristics that set Pattachitra apart from other art form is the story telling techniques through intricate imagery. To dive into the depth of the age-old art form, Nila Madhav Sahoo elaborates on his journey. He is preserving the traditional art form by fusing it with contemporary themes that work as a bridge between the past and present.

Pattachitra originally made on cloth or palm leaves dates back to 12th century.

Pattachitra is distinct due to its use of natural materials, intricate designs and narrative style which brings to life, the stories, and legends of Odisha. There are artists who go for quicker or more cost-effective methods, but Nila Madhav Sahoo insists on using traditional cotton cloth or palm leaves as his canvas and the pigments are derived from natural minerals, plants and soil which adds an organic depth to his work making it more authentic and traditional.

Nila Madhav Sahoo usually goes for vegetable-based colours on patti or tussar cloth but while experimenting with modern fabrics, he makes a shift towards acrylic paints, ensuring the vibrant finish that is characteristic of Pattachitra. When asked how he chooses the themes or stories for his painting, he informed that his work often reflects the stories of the Jagannath tradition, with deities and ancient tales at the heart of his pieces. He adds, “My themes are inspired by Lord Jagannath and Hindu mythology as well as social activities and contemporary issues. I always try to blend traditional and modern elements in my artwork.”

Talking about the entire process of creating a Pattachitra art from scratch requires a lot of patience and precision as there is no room for mistake. The initial process involves preparing the canvas — be it cotton or palm leaf and then carefully sketching the outline of the painting before applying natural or acrylic pigments and finally varnishing the artwork.

We all know good things take time. Same goes for Nila’s paintings. Some of his paintings take a few days, while others take a longer time like weeks or even months. He adds, “Making a Pattachitra painting takes a lot of time and patience. It is not something you can rush through. I start by preparing the canvas, which could be cotton or palm leaves. The surface must be treated first before anything can be drawn on it.”

Once the canvas is ready, Nila carefully sketches the design. He spends hours getting the outline just right. Once it is perfect, he starts painting. He uses natural pigments or acrylic paints, depending on the canvas. He applies the paint in layers, letting each layer dry before adding the next. Every stroke is carefully thought out. Finally, the painting is varnished to protect it and keep the colours from fading. Some paintings are finished in a few days, but the more complex ones can take weeks or even months. Nila does not rush. He takes his time, making sure every detail is exactly how he wants it.

Pattachitra is an art form that really stands out because it tells stories. These paintings are not just about beautiful pictures; they are filled with images and symbols from Odisha’s rich history and Hindu culture. A lot of Nila’s paintings are inspired by the Jagannath tradition, showing gods and legends that have been around for ages.

But the paintings are not just about telling old stories. The symbols used in them mean a lot more. For example, the lotus flower is not just a nice design. It actually, stands for spiritual growth. Similarly, peacock feathers are often seen in Nila’s work, and they stand for beauty, pride and even royalty. These symbols are not just for decoration—they carry deeper meanings about life, growth, and divine energy.

Another thing you will notice in Nila’s work is the strong female figures. These are not soft, passive women; they are powerful, proud, and beautifully decorated with jewellery and designs. They represent strength, beauty and grace, qualities that are important in Hindu mythology. Nila is also known for his special borders around his paintings. These borders, called Nila’s Signature Design, are detailed and beautiful, adding a unique touch to each piece. They help frame the story in the painting, making it feel more complete.

Today, the world moves so fast, with technology and digital art everywhere. This fast pace does not leave much room for the slow, careful work that goes into traditional art. Nila faces the challenge of how to keep this ancient art form alive in such a quick-moving world. His answer is simple: he keeps the tradition alive but also adapts to the times. Nila combines traditional Pattachitra techniques with modern themes, making art that speaks to today’s audience while still respecting the old ways. But keeping Pattachitra alive is not just about making it relevant—it is also about protecting it. The materials used in Pattachitra can fade or get damaged by sunlight and humidity. Nila knows this, so he makes sure each painting is carefully stored, mounted, and framed so it will last for many years.

One of the things that makes Nila different is his desire to teach others. He does not just want to make art for himself—he wants to share his knowledge and keep the tradition alive by teaching young artists. Nila holds workshops and mentors’ students, showing them how to create Pattachitra art just like he does. His mentor, Shilp Guru Shree Goukul Bihari Patnaik, had a big impact on Nila’s artistic journey. Through Patnaik’s guidance, Nila learned the true meaning of Pattachitra. Now, Nila continues to honour his mentor’s legacy by passing on what he has learned to others.

Rupa Samaria’s interactive art and installations on birds gets popular with youngsters, says N Kalyani

A trained artist, Rupa Samaria is a specialist in bird and wildlife art. Her art works have been part of various solo and group exhibitions. She has to her credit several workshops and camps. Her work has taken her around the country, right from Delhi to Tirupati to Bengaluru to Dehradun to Jaipur to Leh to Kakinada. Her interactive art and installations have piqued a great deal of interest in viewers. In an interview with N Kalyani, the Delhi-based artist shares her work as a bird artist and the joy it gives her.

You made a transition from teaching to being a full-time artist. Tell us something about this. Where and what were you teaching? When and why did you make this move into art?

I have been painting since childhood. I went on to do a three-year diploma in arts from a polytechnic in Delhi. After working in advertising for a while, I realized my true passion was painting, so I left that job and began teaching art. While I enjoyed teaching, I struggled to find time to pursue my own dreams, so I left full-time teaching in 2017. I still work as a substitute teacher in the art department at the American Embassy School, where I teach elementary kids and conduct workshops on bird art.

My fascination with birdlife grew after meeting birding friends and going out with them to observe birds. This led me to want to learn more about them, which is why I decided to leave my full-time job at the American Embassy School to become a full-time artist focused on painting wildlife, particularly birds. One of the highlights of my teaching career was the overnight fifth-grade trip to Ranthambore National Park for wildlife observation and tiger spotting.

I chaperoned this trip every year and helped plan it with the person who had been leading the trips for many years. It was during these trips that I developed a love for wildlife, a passion for conservation, and a fascination with birds. Seeing birds in their natural habitat re-ignited an interest I had first discovered while in Mussoorie in high school.

My first sighting now was of an Indian Pitta, a strikingly colourful bird known for its vibrant plumage of bright green, blue, and rust-coloured feathers, often found in forests and gardens across the Indian subcontinent. That experience marked the beginning of my journey into birding. And since 2018, I have been painting and exhibiting my bird and wildlife art.

What do you like to portray and convey through the birds you showcase in your art?

I chose to focus on bird art because of my deep passion for wildlife and conservation, particularly the brilliant colours and stunning plumage of birds that fascinate me. Their vibrant hues and intricate patterns inspire me to capture their beauty in my artwork. Through my paintings, I aim to showcase their unique colours, behaviours, and habitats, sharing their stories with others. By highlighting the wonders of avian life, I hope to raise awareness about the importance of protecting these creatures and their environments. Each piece I create is a way to connect people to the natural world, especially the younger generation who are often glued to technology. I seek to inspire them to appreciate the beauty of nature and understand the vital role birds play in our ecosystems.

What are the bird species you feature in your art?

In my art, I portray a variety of birds, both common and exotic species. I am drawn to those with vibrant colours and unique patterns, such as tragopans, owls, sparrows, finches and various other species found in India. I choose these birds not only for their stunning plumage but also because each has fascinating stories and roles within their ecosystems. For example, pheasants like tragopans captivate me with their striking colours and how they embody the beauty of the forests. Similarly, owls hold significant cultural importance in India, symbolizing wisdom and mystery.

Through my artwork, I aim to highlight the diversity and beauty of birdlife while also raising awareness about their conservation and the habitats they depend on. Each bird I depict has a special place in my heart, and I hope to share that connection with others through my paintings.

What are the art media you work with? What are the different artworks you create? For instance, you have created interactive art, and art installations. And you have focussed on the sparrow.

I work on diverse mediums including sculptures and interactive art. Through attention to line, form, hues, and composition, I strive to bring to life on canvas and other mediums the beautiful birds of the Indian subcontinent and the world.

My art in vibrant and vivid watercolours on paper, acrylic on canvas, terracotta sculptures and interactive art depicts the sprightly creatures. Interactive art uses technology to communicate in a direct way to enable participation. So, the artwork responds to the observer.

The objective of creating interactive art work on song and call of the birds is to break the boundary between the natural world of these birds and the rampant urbanisation today. I want to create awareness amongst the younger generation and highlight the uniqueness of these singing birds and leave a lasting impression on young minds.

Youngsters who are so caught up with technology are often too busy and engrossed with their phones generally remain unaware of the natural world around them. I want to break this barrier and communicate to the audience. My interactive art is a reminder to everyone how precious the birds are. So, next time when they hear these birds’ sing outdoors, they would realize that a world without the sound of these birds would be truly desolate.

Our millennials believe in interactive media like television, phones, laptops etc. They often miss out or not notice the simple and sweet sounds of nature. So, I thought of interactive paintings for the younger generation to catch their attention and interest. Interactive paintings would be an interesting way to connect them to the world of birds. While we grew up listening to the sound of sparrows chirping in our gardens and balconies, the younger generation living in high-rises in big cities perhaps have no idea what a sparrow sounds.

To our younger generation I would like to introduce through this painting the chirping of a sparrow in case they have missed out on this delightful sound. I want the millennials to know and understand that this sound is so important and precious for one associates it with the comfortable and happy sound of home, gardens and parks full of flowers and birds, our beautiful Earth and the fact that all is still good with the world. Today’s generation may not be as well-acquainted with the humble house sparrow (chidiya) as the people of Delhi once were. Sadly, with rapid urbanization and lifestyle shifts this tiny house guest has vanished from our daily lives. The sparrow is not just a bird, but a sentiment attached to the place we call home. The chidiya reminds me of my childhood, and I am very sentimental about them. This painting is an attempt to recreate this sentiment.

How fulfilling do you find your work as an artist? As a bird artist?

I find my work as an artist very fulfilling, especially as a bird artist. Creating art that captures the beauty of birds allows me to share my passion for wildlife and conservation. Each piece I make helps tell the story of these amazing creatures and highlights their importance in our ecosystems.

It’s rewarding to see people connect with my artwork and appreciate the vibrant colours and stories of birds. Knowing that my art can inspire others to care for nature, especially the younger generation, brings me joy and purpose. Being a bird artist truly enriches my life.

Tell us something about your upcoming show.

My upcoming exhibition is to be held in New Delhi in February 2025. It is focused on the birds of northeast India. This region is a paradise for bird lovers, home to some of the most diverse and vibrant avian species in the world. With its lush green forests, expansive wetlands and majestic hills, northeast India provides the perfect habitat for a thriving bird population, including many rare and endangered species.

From tiny, elusive piculets to majestic raptors like the Amur falcon, the birds of this region showcase ecological richness and natural beauty. Their vibrant colours, melodious calls and intricate behaviours reflect the delicate balance of their environment.

My childhood visits to Darjeeling remain vivid in my memory, as the beauty of the flora and fauna left a lasting impression on me. As I continue to explore, my collage grows with each step, unfolding naturally in the pages of my sketchbooks and capturing the essence of this journey. The forthcoming exhibition aims to bring this hidden world to the forefront, highlighting both well-known and lesser-seen species of Northeast India. Through this collection, I hope to foster a deeper understanding of the crucial role birds play in maintaining ecological harmony, while also emphasizing the importance of conservation efforts to protect these magnificent creatures for future generations.