Friday, 3 April 2026

Pulses in Impulse: Notes from My Practice Since 2020 By Sujata Kar Saha

 In 2020, when the global pandemic brought the world to an unexpected pause, my artistic practice also entered a phase of deep reflection and transformation. The sudden disruption of everyday life created a space for introspection, slowing down the pace of both personal and collective life. During this time, like many artists, I began to reconsider my methods of working and the language through which I express my ideas. The isolation and uncertainty of that period made me more aware of the fragile relationship between human existence, nature, and the social environment we inhabit.

For many years my work had been rooted in abstraction inspired by landscapes. Through painting, I explored nature not as a literal representation but as a field of emotion, memory, and sensory experience. My paintings often developed gradually through layered compositions and meditative processes. Colour, texture, and spatial depth allowed me to construct environments that reflected an internal landscape rather than an external one. The process was slow and contemplative, allowing the work to evolve over time.

Artist: Sujata Kar Saha

However, during the pandemic I felt an urgent need for a more immediate and instinctive form of expression. The stillness of that period brought with it a heightened sensitivity to small details and fleeting emotions. I felt the need to respond to these moments quickly, without the long preparatory stages that painting often requires. This impulse led me toward drawing—a medium that allows spontaneity, intimacy, and direct engagement with the surface.

It was during this period that the series “Pulses in Impulse” began to take shape. Most of the works were created with pen, ink, and pencil, sometimes accompanied by delicate touches of watercolour and scratched pen marks. These materials allowed me to move freely across the surface, building layers of lines and textures that captured the immediacy of my thoughts. The drawings emerged spontaneously, almost like visual notes responding to fleeting thoughts and emotions. The act of drawing allowed me to work quickly and intuitively, recording impulses that might otherwise disappear.

In these works, lines became my primary language. They move, branch, and expand across the surface, forming intricate networks that often resemble elements of nature—leaves, roots, branches, or organic growth. Sometimes these lines appear dense and entangled, while at other times they open into delicate and airy spaces. I often think of these forms as imagined floral landscapes, or “flora-scapes,” where the boundaries between nature, memory, and inner emotion begin to dissolve. Through these organic structures, I explore the idea of growth, transformation, and interconnectedness.

Although these drawings may appear spontaneous, they contain a rhythm and structure that developed gradually through the process of repetition and layering. Each line carries a sense of movement, almost like a pulse traveling through space. The accumulation of marks creates a visual vibration that reflects both tension and continuity. In many ways, the drawings embody the emotional atmosphere of that uncertain time—the tension between fragility and resilience, stillness and inner movement.

Since 2020, my artistic practice has also increasingly engaged with socio-political realities. The events unfolding around us—social tensions, political shifts, and ongoing questions about identity, belonging, and collective experience—have begun to influence my work more directly. As an artist, I feel a growing responsibility to respond to these conditions and to reflect on how personal narratives intersect with broader social structures. My work therefore moves between the intimate and the collective, exploring how individual experiences are shaped by the larger socio-political environment.

Interestingly, the floral drawings from the “Pulses in Impulse” series continue to play an important role in my evolving practice. These organic forms are no longer confined to drawing alone. Over time, I have begun to incorporate them into my work in various ways—through different mediums, contexts, and conceptual frameworks. Sometimes these forms appear as symbolic elements within larger compositions, while at other times they function as visual metaphors that connect natural growth with social and political transformation.

For me, these floral structures carry multiple meanings. They can represent fragility and vulnerability, but they also embody resilience, regeneration, and quiet resistance. Plants often grow in unexpected places—through cracks in the ground, along broken walls, or within difficult environments. In a similar way, these forms suggest the persistence of life and creativity even within restrictive or uncertain circumstances. Through them, I explore the idea that growth and change often emerge from moments of disruption.

Looking back, the works that began in 2020 have become a significant turning point in my artistic journey. What started as spontaneous drawings created during a time of global uncertainty gradually evolved into an ongoing exploration of form, meaning, and context. The impulses that first appeared as intuitive marks on paper have continued to expand and transform within my practice.

In this sense, Pulses in Impulse is not only a series of drawings but also an evolving process—one that reflects the shifting relationship between intuition, environment, and artistic responsibility. Through this body of work, I continue to explore how personal impulses, natural forms, and socio-political realities can intersect within the language of art.

Pulses in Impulse
An Online Solo Show by Sujata Kar Saha

Step into a world of intuitive expressions, delicate details, and vibrant storytelling through art. Each piece reflects a rhythm of thought, emotion, and spontaneous creativity.

🗓 Dates: 24th – 28th March 2026
🌐 Venue: Online Exhibition
🔗 www.nippongallery.com

Discover, collect, and experience art from the comfort of your space.

#NipponGallery #OnlineExhibition #SoloShow #SujataKarSaha #ContemporaryArt 

- Art Blogazine Team

Sunday, 29 March 2026

The Illusion Protocol

 Recent sculptural work by Anand Prabhudesai

Anand Prabhudesai has often employed juxtaposition as his visual language. Invariably, he has questioned the self-sufficiency of images; thus, exploring the ruptures in semiotic, semantic and phenomenological meanings accrued to these images. Had he not done such explorations, Anand couldn't have reached the present work.

Anand Prabhudesai

This work can roughly be divided in four parts: the figurines along the partition facing the gallery entrance, the figurines in the gallery, a sculptural installation made of bricks and a pillar-like structure. The figurines are formally identical. Those at the entrance refer to basic needs like food, clothing and safety (of which shelter is a major part but other tangible and intangible aspects like deterrence, education and health cannot be ruled out). Inside, the monotony of these identical figurines is broken by superimposed images that refer broadly to 'Contemporary Art from India'. Almost in the middle of it is a pillar that resembles terracotta- not iron, and has rams that seem to be misplaced. on one side resides the brick wall apparently so real that it can hardly be called a sculpture. These are parts of one work, affirms Anand Prabhudesai.

Even as it addresses dichotomies of authorship and 'appropriation', truth and post-truth, monotony and multitude; the work is not a juxtaposition of dichotomous images, and although the irony is evident, such a juxtaposition is not its source. Instead, the work hypothetically accepts the prevalent notion of aesthetic engagement as a spiritual pursuit, and then- by the multitude of examples- makes it so obscure that the notion loses its credibility. The individual works quoted by Anand are not only many, but also incongruent to make way for a cohesive idea of Art. As an artist, Anand tends to believe that a cerebral response to reality is necessary for making art. He also knows that reality itself might be difficult to grasp, and that artists often construe reality to suit their artistic persona. This understanding brings him to the problem: whether to limit oneself to a chosen persona, and if yes, why. The apparent answers might be found in the 'art market' as a system. But Anand leaves it there so as to look at other aspects of contemporaneity.



While the pitfalls in understanding what is contemporary art- especially in the Indian context- can easily be seen at the Contemporary Art Auctions that sometimes sport works by Thota Vaikuntam, Laxma Goud and Prabhakar Kolte alongside Bharti kher; Anand only underlines it. The viewers may or may not choose to interpret this. What he would like to be interpreted by the viewer is the stark presence of the brick wall along with the ram motifs somewhere in (not atop) the pillar. A ram embodies the impulsive and headstrong psyche rather than pre-determined strategy. So a ram obviously embodies the antithesis to the qualities found in many artists of repute today. Yet, if the interpretations go towards the political overtones, it is the viewer who is finding a way not to think of art for art's sake.

At this point, this work becomes a game of meaning-making with anyone who views it as a participant. The title of this show, is derived from the name of a level in a computer game called 'Safe Zone' – which makes the players as unsafe as in every other computer game, but which also has an AI character called Mara. 'The Illusion Protocol' specifically refers to twisting narratives, a situation that can even otherwise be experienced in the world we live in- where propaganda movies can easily increase toxicity levels of their screenplays in the name of 'artistic liberty', thereby relegating all art to post-truth scenarios. Mara, as in Buddhist understanding of the world, refers to the devil that only gives us delusion, greed and hate. In other words, it turns lions and rabbits into rams and lands us into an ever-incomprehensible reality.

Perhaps a way out of the illusive meanings is to introspect, as the figurines would suggest.

Left side Abhijeet Tamhane and artist Anand Prabhudesai -  Jehangir Art Gallery -2026

Abhijeet Tamhane

Mumbai, March- 2026.


Saturday, 28 March 2026

Rakhee Shah Artist: International Senior Contemporary Artist RAKHEE SHAH’S participation in a Group Exhibition at the Jehangir Art Gallery

Rakhee Shah is an internationally acclaimed artist with over 32 years of experience and an impressive record of 120 prestigious exhibitions and events across the UK, Mumbai, and Delhi, India. She is a member of the Indian Merchants’ Chamber (IMC) and a life member of the Bombay Art Society. In 2025, Rakhee Shah was honoured with the National Award – Rashtriya Kala Ratna Award.

Artist: Rakhee Shah /  Acrylic on canvas

Her artworks have been widely collected across the globe, particularly in the UK and India. Her paintings have also been featured in several international auction houses. Her first exhibition in the UK, a group show held at The Bhavans, was inaugurated by the then Indian High Commissioner, Shri Lalit Mansingh. The exhibition attracted an elite audience of over 400–450 attendees and received significant media appreciation, marking the beginning of her international journey.

Artist: Rakhee Shah

 

Rakhee Shah’s contribution to society is equally remarkable. She has donated over 1,000 paintings worldwide to hospitals, cancer centres, institutions, NGOs, dignitaries, and delegates. Her works have reached countries including the UK, USA, Belgium, Australia, Canada, France, New Zealand, Luxembourg, and India. Notably, she donated 70 paintings to UNICEF and UNESCO, and 148 paintings to ACTREC (Tata Memorial Centre), a Government of India institution. She has also contributed artworks to all 100 police stations in Mumbai.

 

Her work has been presented to several global leaders and dignitaries, including the President and Vice President of the United States, the Prime Minister and President of India, key cabinet ministers, the Governor of Maharashtra, and international leaders from Luxembourg, Switzerland, Germany, Sweden, and Greece, among others. Her paintings are also part of collections held by various consulates and consul generals worldwide.

 

Rakhee Shah has been featured in the Limca Book of Records (2020–2022) for her extraordinary achievements and has also earned recognition in the Guinness World Records. She has received more than 100 awards and certificates from various organisations and institutions, including the prestigious Abdul Kalam Award, Gaitonde Award, and Raja Ravi Verma Kala Bhushan Award.

 

Having faced significant personal challenges in her life, Rakhee Shah has dedicated the past 15 years to philanthropy and social work, using her art as a medium to give back to society.

 

She will be displaying her  recent paintings in a group exhibition from the 31st March to 6th April, 2026 at Jehangir Art Gallery, Kala Ghoda, Mumbai. 


Rakhee Shah

Celebrity International Artist and Philanthropist

find her works on www.arterakhee.com

Instagram - rakhee.shah.79

 

Tuesday, 24 March 2026

Review : A Surface That Breathes: Deepashri Dixit’s Meditative Landscapes at Nippon Gallery

 At Nippon Art Gallery, Deepashri Dixit’s solo exhibition unfolds as a contemplative study of the Nilgiri tree—one that moves beyond representation into an experiential and material engagement with nature. Rather than positioning the tree as a passive subject, Dixit approaches it as a living system, allowing its rhythms of growth, decay, and renewal to shape both the visual and conceptual language of her work.

Central to the exhibition is the surface of the Nilgiri bark. Its peeling layers and subtle chromatic transitions are translated into thick, tactile applications of oil paint. Dixit’s surfaces are not merely painted; they are constructed through layering, scraping, and reworking. In works such as Golden Horizon and Middle of Life, the bark dissolves into abstract terrains, suggesting erosion, sedimentation, and time compressed into matter. The palette remains grounded in earthy browns and ochres, punctuated by shifts into pale whites and cool blues, echoing the organic transformations described in the curatorial framework.

Artist: Deepashri Dixit

A notable formal device across the exhibition is the use of circular formats, particularly in Ankur. These works function less as images and more as cross-sections, inviting the viewer to look into rather than at the surface. Dense, radial mark-making generates a sense of internal movement, evoking cycles of growth and regeneration. The circular form disrupts linear temporality, instead proposing a cyclical understanding of time—one that aligns with ecological processes.

In contrast, larger works such as Patriarch (Karta Purush) introduce a more assertive visual presence. The tree trunk stretches horizontally across the canvas, intersecting a luminous circular form that reads simultaneously as sun, core, and symbolic anchor. While the scale suggests monumentality, the fragmented, textured surface resists idealization. The work holds tension between stability and transformation, suggesting that even the most dominant forms remain subject to time and environmental forces.

The smaller works titled Silence operate in a more restrained register. Reduced in scale and composition, they isolate fragments of bark-like textures, encouraging close, attentive viewing. These works function as pauses within the exhibition, where silence becomes a space of concentration rather than absence.

What ultimately anchors the exhibition is its ecological sensibility. As noted in the curatorial text, Dixit observes the Nilgiri not as an isolated organism but as part of a network of interdependence—roots, branches, and surrounding systems functioning collectively. This framework extends metaphorically into the human condition, suggesting parallels between ecological balance and social relationships.

Dixit’s exhibition resists spectacle. Instead, it demands duration—an attentive, slowed engagement with surface, texture, and transformation. In doing so, it offers a quiet but compelling proposition: that to understand nature is not to represent it, but to remain present within its ongoing processes.




Review By Mukur Biswas

Sunday, 22 March 2026

Jehangir Art Gallery

 


Shanthi Vinjamuri – Contemporary Visual Artist- solo show at Jehangir Art Gallery

Shanthi Vinjamuri is a distinguished contemporary visual artist with over two decades of experience in the creative arts and painting. A recipient of a prestigious Gold Medal in Fine Arts, she holds a Master’s degree in Drawing and Painting, consistently demonstrating academic and professional excellence throughout her career. Her formal training has been marked by numerous accolades and recognitions from esteemed institutions.

Artist: Shanthi Vinjamuri

Over the past 20 years, Shanthi has played a significant role as an art mentor across diverse platforms, institutions, and organizations, nurturing emerging artists both in India and internationally. Her commitment to education and knowledge-sharing continues to inspire a growing global community of practitioners.

Her artistic practice spans a wide spectrum of creative expression. She has collaborated with renowned writers on books and magazines, with her illustrations and compositions featured in several national and international publications. Her works have been exhibited in numerous shows, earning appreciation for their depth, visual storytelling, and intuitive aesthetics.

Shanthi’s oeuvre encompasses drawing, painting, and illustration, with a strong emphasis on visualization, sketching, and mastery of both traditional and contemporary mediums.

Her artistic language is rooted in minimalism and intuitive expression. Her lines speak softly, yet resonate deeply—inviting viewers to engage with their own memories and inner worlds. Beginning from a single dot, her compositions evolve into expressive forms that embody emotion, connection, and introspection. Through her work, she explores themes of hope, dreams, and challenges, allowing thoughts to take shape freely, without boundaries.

Through this approach, Shanthi aims to evoke reflection, empathy, and engagement, embracing the quiet yet powerful essence of visual storytelling. For the artist, every work begins with a single mark—an ongoing journey of exploration that never truly ends.


VENUE: Jehangir Art Gallery

161-B, M.G. Road, Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm





Saturday, 21 March 2026

“Simple Living” Solo Show of Paintings By International contemporary artist Dr. Priya Yabaluri at Jehangir Art Gallery

International contemporary artist Dr. Priya Yabaluri will present her solo exhibition titled Simple Living – Unity in Diversity at Jehangir Art Gallery, Gallery No.1, Kala Ghoda, Mumbai, from 24th March to 30th March 2026.

Dr. Priya Yabaluri: A Quiet Force of Art and Meaning. Dr. Priya Yabaluri is an artist who does not simply create paintings, she creates spaces for reflection. Her work feels like a pause in a fast-moving world, gently inviting us to look again at life, at people, and at the beauty we often overlook.

Artist: Dr. Priya Yabaluri

Rooted in the idea of simple living and unity in diversity, her art carries a quiet depth. In her series Vivayan, everyday life becomes poetic. Forms, colors, and symbols come together like fragments of different cultures, not in contrast, but in harmony. There is a sense of calm in her compositions, as if each piece is breathing, asking the viewer to slow down and feel rather than just see.

What makes Dr. Priya’s journey unique is the way she moves between art and purpose. As the founder of World Art Fair and the Global First Woman Foundation, she extends her vision beyond the canvas into real communities. Her work supports artists, especially women, and creates bridges between cultures across the world. For her, art is not separate from life, it is deeply connected to people, dialogue, and shared growth.

Her academic path reflects this same depth of thought. With a Doctorate in Fine Arts, a Global MBA, and her ongoing Doctor of Business Administration, she brings together creativity and strategy in a rare and meaningful way. She understands not only how art feels, but also how it can shape systems, ideas, and futures.

There is a quiet strength in everything she does. Dr. Priya Yabaluri does not seek to overwhelm, she seeks to connect. Through her work, she reminds us that simplicity is not small, it is powerful. And within that simplicity lies a deeper truth, that we are all, in many ways, part of the same story.


From: 24th to 30th March 2026

“Simple Living”

Unity in Diversity  - Solo Show of Paintings

By International contemporary artist Dr. Priya Yabaluri

VENUE: Jehangir Art Gallery

161-B, M.G. Road, Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

+91 9137579205

Wednesday, 18 March 2026

Quiet Masters in Focus: Kolkata Gallery to Revisit the Works of Asim Basu and Sunil De

 In the evolving landscape of Indian contemporary art, several artists of considerable merit have developed substantial bodies of work outside the immediate spotlight of the art market. Two such figures from Kolkata—sculptor Asim Basu (b. 1947) and abstract painter Sunil De (b. 1948)—are receiving renewed attention through an initiative planned for the 2026–2027 season by Aakriti Art Gallery.



Both artists belong to a generation that matured during a period of transition in Indian art, when modernist practices were consolidating while new approaches to abstraction and form were emerging. Over the past four decades, Basu and De have pursued deeply personal artistic paths shaped by sustained studio practice rather than by the dynamics of self-promotion or market visibility.

Asim Basu, trained at the Government College of Art & Craft in Kolkata, has developed a sculptural language rooted in the expressive possibilities of the human figure. Working primarily in metal and bronze, his sculptures often capture moments of reflection and everyday interaction, balancing figurative elements with subtle abstraction. His work is noted for its quiet narrative quality and emotional restraint, transforming ordinary human gestures into contemplative sculptural forms.



Sunil De, by contrast, has dedicated his practice to abstraction. His paintings are characterised by vibrant colour relationships, layered textures, and gestural movement. Rather than depicting identifiable subjects, his canvases explore the expressive potential of colour and rhythm, producing compositions that evoke mood, movement, and sensory experience.



Despite the depth and maturity of their practices, both artists have remained relatively outside the more visible circuits of the contemporary art world. Their reputations have instead developed gradually through exhibitions, critical engagement, and the support of collectors familiar with their work.

In the coming months, Aakriti Art Gallery plans to organise a series of exhibitions and events dedicated to the two artists, presenting a wide range of sculptures and paintings created across different phases of their careers. The initiative aims to provide audiences and collectors with a broader opportunity to engage with their work and to re-examine their place within the evolving narrative of modern and contemporary Indian art.

The renewed focus on Basu and De also reflects a growing interest in reassessing artists whose contributions have matured quietly over time—reminding viewers that some of the most enduring artistic practices develop away from the immediate visibility of the marketplace.

Aakriti Art Gallery

(A unit of Chisel Crafts Pvt. Ltd.)

Orbit Enclave, First Floor 12/3A,

Hungerford Street Kolkata-700 017

Phones : +91 33 22893027 / +91 33 22895041

Fax No : +91 33 22895042

E-Mail : art.aakriti@gmail.com

Friday, 13 March 2026

Atmashodh Solo Exhibition (आत्मशोध) is a powerful exploration of inner reflection and artistic expression by artist Deepashri Dixit.

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Solo Show at Nippon Gallery 

Atmashodh Solo Exhibition (आत्मशोध) is a powerful exploration of inner reflection and artistic expression by artist Deepashri Dixit.

Join us at Nippon Gallery for this special exhibition, bringing together contemporary visual narratives and meditative artistic forms.

Chief Guest: Geeta Nallani

Founder – You.Art Saga Art Pvt. Ltd.

Curated by: Sameer Dixit

In collaboration with: Chitrakatha Art Gallery

📍 Fort, Mumbai

📅 17 – 21 March 2026

🕠 Preview: 17 March, 5:30 PM onwards

🕒 Exhibition Timings: 3:00 PM – 7:00 PM

We look forward to welcoming artists, collectors, and art lovers to experience this thoughtful journey of self-discovery through art. 

#NipponGallery #SoloShow #DeepashriDixit #Atmashodh #ArtExhibition #MumbaiArt #IndianContemporaryArt #ArtCollectors #GalleryShow #FortMumbai #ArtLovers #ContemporaryArt #IndianArtists #MumbaiArtScene #ArtEvent #VisualArt #GalleryOpening #ArtCommunity #SupportArtists

Thursday, 12 March 2026

“GWALA” Solo Show of Paintings By Ranjeet Datt Varma at Jehangir Art Gallery

 A solo exhibition titled ‘Gwala’ by Renowned artist Ranjeet Datt Varma will open on 16 March 2026 at 5 p.m. at the historic Jehangir Art Gallery. The exhibition will remain on view until 22 March 2026 and will present a new body of paintings that draw inspiration from the pastoral and devotional imagery associated with the cowherd figure in Indian cultural memory.

Artist: Ranjeet Datt Varma

In this series, Varma explores the symbolic world surrounding the Gwala - a figure historically linked to Krishna lore and the agrarian life of pastoral communities. Rather than approaching the subject as a strictly mythological narrative, the artist interprets it through a contemporary painterly vocabulary that merges folk sensibilities with stylised figuration. The result is a group of works that evoke tenderness, companionship and quiet introspection while retaining a strong connection to rural cultural identity.

Varma’s paintings are distinguished by their radiant palette and fluid forms. Figures appear simplified and sculptural, often emerging from fields of luminous colour that heighten the emotional atmosphere of the compositions. The surfaces carry a sense of vivid lyricism, where expressions, gestures and shared moments between characters become central to the narrative. Through these visual encounters, the artist reflects on themes of love, devotion and everyday human relationships embedded within traditional storytelling.

The exhibition also highlights Varma’s engagement with colour as a primary expressive device. His canvases unfold through vibrant tonal contrasts that create depth and vitality while maintaining a sense of harmony across the pictorial space. This chromatic language lends the works an almost dreamlike quality, balancing familiarity with imaginative interpretation.

Originally from Nanded, Maharashtra, Ranjeet Datt Varma brings the cultural memory of rural life into dialogue with the contemporary gallery environment. ‘Gwala’ therefore becomes more than a thematic series; it functions as a visual meditation on heritage, storytelling and the enduring emotional resonance of pastoral imagery within modern artistic practice.

This show will be inaugurated on 16th March 2026 at 5.00pm by Hon. CHIEF GUEST

Adv.Shri Ashish Ji Shelar It & Minister Of Cultural Affairs Of Maharashtra

Guest of honor

Shri Bhimraoji Keram M.L.A (Aamdar), Assembly Of Kinwat

Shri Ravi Rana Leaf Victorious Election Chin Y.S.P Mla Badnera Vidhan Sabha Chairman Assurance Committee Legislative Assembly, Maharashtra State Ajoykaant Ruia

Chairman (All State Group), Shri Dr. Ganesh Tartare Former Hod, Sir J.J. School Of Art, Architecture & Design, Mumbai. Shri Surendra Jagtap Principal Of J.K. Academy Of Art & Design, Mumbai, Shri Balaji Ubale Hod. Drawing & Painting Of J.K. Academy Of Art & Design, Mumbai.


From: 16th to 22nd March 2026 - “GWALA”

Solo Show of Paintings By Ranjeet Datt Varma


VENUE: Jehangir Art Gallery, 161-B, M.G. Road,

Kala Ghoda, Mumbai 400001- Timing: 11am to 7pm

Contact: +91 9307368851,+91 8788118761