ARPITA SINGH (b. 1937)

Born in 1937 in West Bengal, Arpita Singh completed her education in art from the School of Art, Delhi Polytechnic in 1959. She was the founder member of the group ‘The Unknown’ in Delhi in the early sixties and over the course of the years has produced paintings that resembles intricate tapestries and equally blueprints that chart out of a complex web of metaphors, myths, fantasy, reality, conscious stances and subconscious utterances.

Singh has held solo exhibitions at Vadehra Art Gallery (Cobweb, 2010-11; and Picture Postcard, 2006), Bose Pacia Modern, New York (Memory Jar, 2003 and 1997) and Gallery Chemould, Mumbai (1997), among others. She has also been part of important museum shows such as India Moderna, organised by Institut Valencia d’Art Modern and Casa Asia, Valencia Spain (2008-9), Tiger by the Tail! Women Artists of India Transforming Culture, Women’s Studies Research Center, Brandeis University (2007-2008); Horn Please, curated by Bernhard Fibisher and Suman Gopinath, Kunstmuseum Bern (2007); Tradition/Tensions: Contemporary Art in Asia, Asia Society, New York (1996-1998); Algeria Biennale, Algeria ,1987; 2nd Biennale, Havana, Cuba, 1987; ‘Festival of India in France’, Georges Pompidou Centre, Paris, 1986; and ‘Contemporary Indian Art, Festival of India’, Royal Academy of Arts, London, 1982.


Gulam Mohammed Sheikh was born in Surendranagar, Gujarat in 1937. He studied painting at the Faculty of Fine Arts, Baroda (M.A. Fine, 1961), and the Royal College of Art, London, (M.A. 1966). He taught art history and painting at B aroda for about thirty years till 1993. In addition to painting and teaching, his career has included numerous publications in history and criticism and in poetry and prose.

During his stay at the RCA, he traveled widely in Europe, especially in Italy to see the work of the early Renaissance masters. His interest in the traditional arts is of great significance in the development of his own painting and writing. He was actively involved in founding the Group 1890 in l963, a group of twelve young artists who sought to make a critical intervention in what they perceived as the mainstream of a stale national- modem art practice.

Sheikh has been instrumental in initiating and theorizing the Narrative-Figurative tendency in contemporary art. His early work may be seen to be occupied with an investigation of the subliminal reaches of human existence. His work from the 1960s and 1970s can be seen to be informed with a consciousness of the surreal in the seemingly mundane. An undercurrent of the erotic seems to animate the landscape. An extreme organicity of forms in vibrant psychedelic color falls in with this concern.

His interest in several traditions of world art and the search for a linguistic-theoretical bedrock that could support an indigenous practice that did nor become insular have since led to the formulation of a practice that resists monolithic constructs of identity or tradition, and moves back and forth in time and space to construct memory plays that do not remain restricted to the autobiographical. Though the autobiographical reference has been an important part of his practice, Sheikh has found it possible to reach for reflections on the historical and the civilizational through the device of the autobiography.

Musings on place, on the cultural environment of the individual are of importance, to him; the physical and the transcendental meet in his work. Sheikh lives and works in Baroda.


Vivan Sundaram, born 1943, Simla. Studied painting in M.S. University,Baroda and The Slade School of Fine Art, London in the 1960’s. Since 1990 he has turned to making artworks as sculpture, installation, photography and video. He has exhibited in the Biennial’s of Sydney (2008), Seville (2006), Taipei (2006), Sharjah (2005), Shanghai (2004), Havana (1997), Johannesburg, (1997), Kwangju (1997), Asia-Pacific Triennial, Queensland Art Gallery, (1996).

Has participated in group shows in London (Tate Modern, 2001), New York (International Centre for Photography, 2008, Tokyo (Mori Museum, 2008, Munich (Haus der Kunst, 2006), Vienna (Museum of Modern Art Ludwig Foundation, 2006), Berne (Kunst Museum, 2007), Berlin (Haus der Kulteren Welt,2003), Rotterdam (Museum Boijamns van Beuningen, 2001).

Vivan Sundaram lives in Delhi and is married to the artwriter Geeta Kapur. Nilima Sheikh was born to doctor parents in 1945 in Delhi. Influenced while schooling with artists like Devyani and Kanwal Krishna to consider art as a profession, she joined the Faculty of Fine Arts at the MS University of Baroda in 1965 after graduating from Delhi University in History. Studying painting at Baroda under the mentorship of KG Subramanyan introduced her to the linguistics of varied art-making processes.

Nilima started exhibiting professionally in 1969 while still studying for her Master’s in Fine Arts. Her recent solo exhibitions include Each Night put Kashmir in your Dreams at Chemould Prescott Road, Mumbai in 2010 and Drawing Trails at Gallery Espace in New Delhi in 2009. Recent group participations include Place-Time-Play, Contemporary Art from West Heavens to Middle Kingdom in Shanghai in

2010 and India moderna, Institut Valencia d’Art Modern at Valencia in 2008. Travels, abroad and within India, since 1974 to participate in artists’ camps, workshops and seminars, and often with her husband Gulammohammed Sheikh to look at the art of the world have punctuated Nilima’s career. Her interest in tempera painting traditions has helped shape her oeuvre which ranges from small manuscript format works and scrolls on paper and silk in varied tempera techniques to large canvas hangings painted in casein tempera.

Nilima has designed and painted sets for theatre productions between 1993 and 2000. She has written on art in books, journals and catalogue essays since 1971 and also illustrated books for children.


Nalini Malani was born in Karachi in 1946 and received her diploma from the Sir J. J. School of Art in 1969. She has held several shows in India including site-specific works like ‘City of Desires’ at Gallery Chemould, Mumbai in 1992. Among the several international shows she has participated in Festival of Perth, Australia in 1976; the International Festival of Arts at Cagnes-Sur-Mer, France in 1977; ‘Myth and Reality’ Museum of Modern Art Oxford in 1982; Seven Indian Artists, Gemmy in 1982; Festival of India, London in 1982. Malani has also participated in “India Song’s” a traveling exhibition in Australia in 1993; Johannesburg Bienniale in 1995; Brisbane Triennale in 1996 and the exhibition ‘Traditions/ Tensions’ at the Asia Society, New York in 1996.

In Malani’s charged human forms there is a constant reference in several registers to the woman’s experience within the larger network of relationship. Her earlier work, which was autobiographical in nature, spoke of the woman’s personal within in the dense fabric of family interactions. A wider canvas now encapsulates the despair and destruction within cities or between nations where- the symbolic manifestations of the woman become apparent. Recently her site-specific works evoke in many registers the complex relationships between the exploiter and the exploited.

Malani lives and works in Mumbai.

NALINI MALAN (b. 1946)


Born in Pune, Maharshtra in 1949 Sudhir Patwardhan is a self taught artist and a retired radiologist. Apart from several solo show he has participated in international exhibitions like ‘Aspects of Modem Indian Art’ Oxford, U.K. 1982; Contemporary Indian Art, festival of India, London, 1982; Seven Indian Artists, Hamburg, West Germany, 1982; Contemporary Indian Art, Festival of India, New York, 1985; Festival of India, Center George Pompidou, Paris 1986 and ‘Coupe de Coeur’ Geneva, 1987.

Patwardhan’s canvases are densely populated reflecting the hub of city life often with emphasis on the ordinary, working man. His human forms are imbued with a sense of innate dignity as they go about performing their chores in busy city streets or in suburban construction sites. Apparently realistic, the work at times brings in an imaginary, remembered space or it can be viewed from several vantage points making it multi faceted. More recently the receding and emerging figures provide a rhythmic unity to his group compositions echoing the ancient mural art of Ajanta and Ellora.

Patwardhan lives and works in Thane near Mumbai.

ANBIR KALEKA (b. 1953)

Ranbir Singh Kaleka was born in Patiala, Punjab, in 1953. He studied painting at the College of Art, Punjab University in Chandigarh, and subsequently took on a teaching assignment at the Punjabi University and College of Art in New Delhi. He later obtained his Master’s degree in painting from the Royal College of Art in London.

Kaleka’s paintings, both on paper and canvas, in oils as well as mixed media, are almost surrealist in their treatment of scenes from everyday life. The lines are suggested, rather than sharply traced, and the colours almost deliberately restrained. Kaleka’s interest in cinema also lead to the advent of his video art, where he explores the effects of combining the physicality of the painted image with an image made out of light. The result is a ‘sort of hyperimage’, which achieves an intensity and subtlety of colour, and imbues the static with a sense of movement through the superimposition of sound and movement. The artist’s movement into video art has been an essential endeavor for his further exploration of the ‘psychological event’, an event that can only take place outside the physical confines of the frame of the painting, through the usage of light to create the image and the subsequent aura of the image. Kaleka has also created and exhibited photographs and installations. The artist’s work has been widely exhibited in India and abroad. His most recent solo and group shows include the 4th Guangzhou Triennial, 2011; MediaArtLab in Moscow, in 2011; Prague Biennale 5, in 2011, Lalit Kala Akademi’s ‘Tolstoy Farm- Archive of Utopia’, in 2011; ‘Contemporary Masterpieces from Private Collections’ at Singapore Art Museum, in 2011; ‘Finding India, Art for the New Century’ at MOCA Taipei, in 2010; Hong Kong Art Fair, in 2010; ‘Sweet Unease’ at Volte Gallery, Mumbai, in 2010; ‘Reading Man’, in 2009, and ‘Fables from the House of Ibaan: Stage I’ in 2008, at Bose Pacia Gallery, New York; Chalo India at the Mori Art Museum, Tokyo, in 2008; a multi-media installation commissioned to the permanent collection of the Spertus Museum, Chicago, in 2007; the Sydney Biennale, 2008; Urban Manners at Hangar Bicocca, Milan, in 2007; New Narratives: Contemporary Art from India at the Chicago Cultural Center in 2007; Horn Please: The Narrative in Contemporary Indian Art at the Museum of Fine Arts, Berne, in 2007; Art Video Lounge at Art Basel Miami Beach, Miami, in 2006; Hungry God: Indian Contemporary Art at Busan Museum of Modern Art, South Korea in 2006; iCon: India Contemporary at the Venice Biennale, 2005; Edge of Desire: Recent Art in India at the Asia Society, New York, in 2005; Culturgest-Lisbon in 2004; Zoom! Art in Contemporary India, Lisbon, in 2004; and subTerrain: Indian Contemporary Art at the House of World Culture, Berlin, in 2003.

Ranbir Kaleka lives and works in New Delhi.

N. PUSHPAMALA (b. 1956)

Born in Bangalore in 1956, now lives and works in Bangalore and New Delhi. Pushpamala N is a video, photo and installation artist, writer and curator. After receiving a BA in Economics, English and Psychology from Bangalore University, she studied sculpture at M.S. University, Baroda where she did her post-graduation in 1985. Since the mid 1990s she has been mainly working in photography,

performance and video. She uses women’s stories and women’s material as a device to explore history, memory and contemporary society. In all of her works Pushpamala N. is chief actor as well as director, and has a charismatic on-camera presence. Her work has been shown at numerous international exhibitions, biennials, and festivals, including the Johannesburg Biennale; ENSBA, Paris; Tate Modern, London; Saatchi Gallery, London; Mori Art Museum, Tokyo; La Verreina, Barcelona; Centre Pompidou, Paris, Bose Pacia New York; Nature Morte, New Delhi and Chemould Prescott Road, Mumbai. Her work is part of several major collections such as National Gallery of Modern Art, New Delhi; Centre Georges Pompidou, Paris; National Gallery of Australia, Canberra; Saatchi and Saatchi, London.

N. N. RIMZON (b. 1957)

N. N. Rimzon was born in Kerala’s Kakkoor village in 1957. He studied sculpture at the College of Fine Arts in Trivandrum and followed it up with an M.A. in the subject from Baroda’s M.S. University. He also studied in the Royal College of Art in London with the help of an Inlaks scholarship. During this learning phase, Rimzon’s figures seem to reflect the concerns emanating from a leftist background in Kerala. The sculptor’s later work reveal postmodernist nuances in their attitudes, but the social-radical statement continues as an important motif, particularly in a work as direct and unambiguous as The Tools.

Rimzon has held shows in galleries in New Delhi, Amsterdam, New York and Brisbane; these also include theme-based events and group shows. He was nominated for the Sotheby’s Award for Contemporary Indian Art in 1998. The artist lives and works in Kerala. Rimzon has held shows in galleries in New Delhi, Amsterdam, New York and Brisbane; these also include theme-based events and group shows. He was nominated for the Sotheby’s Award for Contemporary

Indian Art in 1998.

The artist lives and works in Trivandrum.

ANITA DUBE (b. 1958)

Born 1958 in Lucknow, India Lives and works in New Delhi, India. Anita Dube is an art historian and critic turned artist. Her artistic endeavours draw on rich fount of experience and address issues such as mortality, desire, pain, and joy. She is widely represented at exhibitions in India and abroad, and has contributed to workshops and curated numerous exhibitions. Over the years, Dube has developed an aesthetic idiom that employs sculptural fragments made out of e.g. foam, plastic, pearls, prostheses, and glass eyes used for religious sculpture in Asia. Through this variety of found objects she explores a contradictory range of themes that deal with autobiographical losses as well as with losses affecting society as such.

Dube’s early artistic experiments are the result of her affinity, in the 1980s, with a group of radical painters and sculptors from Baroda. This artists’ association emerged in the wake of anti-Muslim riots, offering an incisive analysis and criticism of the social and political situation in India at the time. At that point, Dube’s work was dedicated to investigating the human body, its tactile properties, and its resilience. In the work Ah (a Sigh) from 2008 Dube shows a blow-up of a black-and-white newspaper photograph featuring protesting Indians of all ages. A row of tree roots covered in velvet is placed on top of the photograph. The roots refer to India’s Hindu roots. The “Tree of Life” is an important symbol in almostall cultures and religions; its branches reaching heaven while its roots are buried deep in the ground.

Thus, the tree links the sky, the earth, and the underworld. Within Hinduism, however, the tree is upsidedown: The roots are in the sky while the branches are in the ground. In Dube’s work, the roots emphasise the gestures made by the people in the photograph, reaching out to the spectator. The work visualises the people’s protest against decisions made by powerful political leaders who appear to be ruthlessly pursuing their own interests. The hands extended to the spectator can be viewed as a call urging us to take an active interest, whereas the roots can be regarded as emblems of human loss. Without a dynamic democracy India will wither and die like a tree ripped from the ground by its roots. The work offers insight into the complex socio-political struggles being fought within Indian society and into the gap between these struggles and the global struggle for equality and justice. Thus, Ah (a Sigh) brings into play issues of oppression and reconciliation, both in poetic and metaphorical terms.


Born in 1958 in Mysore, Nataraj Sharma grew up in Egypt, England and Zambia. He studied Applied Art at the Faculty of Fine Arts at Maharaja Sayajirao University, Baroda, graduating in 1982. Strongly influenced by socio-political happenings across the world and his own migrations, his art Sharma’s reflects a multiplicity of influences, not just in its content but also in its form. Sharma has dabbled with equal ease and success in varied styles of painting, digital art and installations. Heavily influenced by pop art and its stalwart Andy Warhol, Dadaism and Marcel Duchamp, and the Indian Progressive artists, Sharma’s art visual vocabulary emerged as strongly individualized and strikingly bold.

Sharma moves swiftly and convincingly between figure studies, portraits and landscapes in oil and acrylic on canvas, and large scale installations. His recent works explore urban landscapes and industrial geometry, playing and teasing the forms that they take, stretching their boundaries, and depicting civilization through empty factories and battered machines.

Sharma solo exhibitions include ‘Airshow’ at Bodhi Art, Singapore in 2008-09; ‘Work In Progress’ at Bodhi Space, Mumbai, in 2008; ‘Stretch’ at the Singapore Tyler Print Institute and Bodhi Art, Singapore, Mumbai and New York, in 2007; ‘Flight’ at Art and Public, Geneva, and Bodhi Art, Mumbai, in 2007; and ‘Nataraj Sharma: Vapi Horse and Other Stories’ at Nature Morte, New Delhi in 2005. His work has been a part of several group shows including ‘Living of the Grid’ at Anant Art Centre, New Delhi, in 2009; ‘Zip Files’ at Tao Art Gallery, Mumbai, in 2009; ‘Frame Figure Field: 20th Century Modern and Contemporary Indian Art’ at Delhi Art Gallery, New Delhi, in 2008; ‘Edge of Desire’ which travelled to several cities across the world from 2005 unto 2007; and ‘Kitsch Kitsch Hota Hai’ presented by Gallery Espace at India Habitat Centre, New Delhi, in 2001.

Sharma was awarded the Sotheby’s Award for Best Emerging Artist in 1993, and participated in an

artist residency program at the Singapore Tyler Print Institute (STPI), Singapore, in 2006.

ATUL DODIYA (b. 1959)

Born in Mumbai, India, 1964. B.F.A. at the J J School of Art, Mumbai. Selected Solo Exhibitions: ‘The Cloud-Hunt’, Vadehra Art Gallery, New Delhi, India, 2005; ‘Throne of Frost’, Lukshmi Villas Palace, Baroda, India, 2007; ‘ All Night I Shall Gallop’, Singapore Tyler Print Institute, Singapore & Bodhi Art, Singapore, Mumbai, New York, 2008. ‘Face-off (after Kuniyoshi)’, Galerie Daniel Templon, Paris, 2010.

Group exhibitions: ‘ARS 01, Unfolding Perspectives’, Museum of Contemporary Art, Kiasma, Helsinki, Finland, 2001; ‘crossing generations: diVERGE’, (curated by Gita Kapur and Chaitanya Sambrani) National Gallery of Modern Art, Mumbai, 2003; ‘New Narratives: Contemporary Art from India’ (curated by Betty Seid) Chicago Cultural Centre, Chicago, 2007;‘Making Worlds’ (curated by Daniel Birnbaum) 53rd Venice Biennale, Venice, 2009.

Lives and works in Mumbai, India.

V. N. JYOTHI BASU (b. 1960)

V. N. Jyothi Basu was born in 1960 in Kerala. After receiving a Bachelor’s of Fine Arts Degree from Trivandrun, the artist joined the MS University in Baroda to obtain his Master’s degree in the same. But to avoid studying Art History, which was one of the compulsory requirements for the MFA course, Basu switched his post graduate stream, and opted for a diploma instead of a degree. A member of the ‘Radical Group’, which aimed to revolutionize modern art practices and techniques in India in the later 1980’s, Basu has just recently emerged from a painterly hiatus almost ten years long, lasting from 1991 to 1998. Appropriately, in his recent works, the artist seems taken up with the themes of death and resurrection of the individual. Referring to his own rebirth as a painter after nine years of working as a set designer for television channels, Basu’s latest paintings are tinged with tones of the fantastic and ephemeral. But these sweeping landscapes and bright and vivid flora conceal deeper messages – bejeweled flowers are just as prickly as they are pretty. Assaulting the viewer with heady sensuous gratification, these images can just as soon draw blood. Ranging from charcoal and pastels on paper to oil on canvas, all the works in this latest ‘Resurrection Series’ seem to highlight the ability of the individual to overcome personal obstacles and learn to tackle new ones as they arise instead of bending backwards in front of them. The solitary and twisted trees

seem to point this out, whilst the landscapes illustrate the road ahead that needs to be taken step by step. Acknowledging the debt he has to the imagery of artists like Hieronymus Bosch, Frida Kahlo and Rousseau, Jyothi Basu is truly an artist of the fantastic and natural to be reckoned with in the sphere of Indian contemporary art.

V. N. Jyothi Basu lives and works in Baroda. Gargi Raina (b. 1961, New Delhi) received a BFA in Applied Art from The College of Arts, New Delhi in 1985, and an MFA in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda

in 1988. She was awarded the 2002 Residency at Taipei Artists Village, Taiwan. Select solo exhibitions include: Constructing the Memory of a Room, Paintings and Installations from 2001-07, Bodhi Art, New Delhi, 2007; Sakshi Gallery, Mumbai, 1999 and 1996; Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, 1996; Gallery 7, Mumbai, 1992.

Select group exhibitions include: Snow, The Palette Art Gallery, New Delhi, in collaboration with Tao Art Gallery, Mumbai, 2010; Zip Files, Tao Art Gallery, Mumbai, 2009; Relative Visa, Bodhi Space, Mumbai, 2009; Material/Im-mmaterial, Gallery Collection, Bodhi Art, Gurgaon, 2008; Mapping Memories–2, Painted Travelogues of Bali and Burma, Gallery Threshold, New Delhi, 2008; Angkor: The Silent Centuries, Gallery Threshold, New Delhi, 2005. Raina has also participated in Lo Real Maravilloso: Marvelous Reality, 20 Year Celebration of Gallery Espace at Lalit Kala Akademi, New Delhi, 2009.

GARGI RAINA (b. 1961)

Subodh Gupta was born in 1964 in Khagaul, Bihar, and is now based in New Delhi. The artist’s change of residence from his native village to a major urban center is like an allegory of today’s India. Gupta is interested in what inevitably disappears in the process of such change. The extensive use of stainless steel utensils in his artwork codifies the complex socio-economic, as well as, cultural situation of present day India. Selected Solo exhibitions include ‘A glass of water’ at Hauser & Wirth, New York (2011), ‘Faith matters’ at Pinchuk Art Centre, Kiev, Ukraine (2010), ‘Take off your shoes and wash your hands’ at Tramway, Glasgow, Scotland (2010) and ‘Oil on canvas’ at Nature Morte, New Delhi, India (2010).


(b. 1964)

ANJU DODIYA (b. 1964)

Giving voice to the nayika she introduced and imaged in her inaugural solo exhibition at Gallery Chemould in Bombay 1991, Anju Dodiya wrote, “in this other world, she suffers only an artist’s insomnia.” In the subsequent 15 years, Dodiya has composed visual poems tinged in shades of both night and day, effecting layered works that narrate a balanced dualism of the unconscious. Though she adapts art historical sources as varied as Japanese ukiyo-e prints, medieval French tapestries, and Kiki Smith’s contemporary figuration, the artist’s own interiority and self-reflection are the primary catalysts for her imagination.

Born in Bombay, Dodiya graduated from the JJ School of Art in 1986, refining her talent with watercolors while still a student there. Since then, Dodiya’s exhibitions have unfolded a textured, thoughtful story with an intuitively feminine orientation and an elegant simplicity. After years of producing beauty with her watercolors, Dodiya tempered her work in by drawing in gray for a 2001 exhibition at Chemould; she said, “I no longer wanted to make the image so precious. I fought it with charcoal.” Dodiya’s 2005 exhibition The Cloud Hunt initiated a series painted on mattresses, reaffirming the artist’s full-time preoccupations from all hours and adding a mythological element to the tensions inherent in her vision. This material base cushioned the aggression her protagonist would hope to inflict, reflective also of the inherent futility in the pursuit of hunting clouds. The artist’s first, self-titled solo exhibition in New York in 2006 developed this medium further, visualizing the themes of sleep and night in some of her mattress-as-canvas works.

With both monumentality and precise attention to detail, Dodiya staged Throne of Frost in the darbar hall at Baroda’s historic 19th century Laxmi Vilas Palace in 2007. Complementing motifs and themes already present in the architecture, Dodiya’s paintings for this exhibition were set against rich, embroidered fabric and transformed into an installation – a circular, group conversation dancing around carefully lain shards of mirror.

Born in Kolkata in 1965, Anandajit Ray completed his Bachelor’s and Master’s degrees in painting from the Faculty of Fine Arts at M. S. University, Baroda, in 1989 and 1991 respectively.

Ray works in controlled formats which recall genres as diverse as the miniature and the comic strip. This creates a hybrid which is laborious in rendering but irreverent in content, drawing as it does on areas of adolescence which create avenues of escape from a potentially dreary reality, and whose desires are projected and materialized through the popular media. The underlying narrative, continuous or splintered as the case may be, defies a literal readability in spite of the very specific images which constitute it, relying instead on a visual logic where an image is what it is rather than what it could stand for. It represents a unity which is connective rather than whole. The artist’s diverse oeuvre, including miniaturist works in gouache, cut up paintings rearranged as visual puzzles, and large sculptural installations, is animated by a sense of the surreal. There is the simultaneous exploration of the mundane and the phantasmal, the ridiculous and the horrific. The seduction and intimacy offered by these works, far from being repellent, actually invite acquisition by providing a perfect frame for private fantasy. Ray calls himself a ‘surface painter’, subscribing to an enjoyment which does not presume to judge. Incidents of illogical violence scattered over the surface of a painting therefore metamorphose into decorative detailing, finding complete acceptance in our minds. Ray’s works have been exhibited in solo shows at Gallery Espace, New Delhi, in 2007 and 2003; Sakshi Gallery, Mumbai, in 2004, 2000, 1998, 1994 and 1993; Nazar Art Gallery, Baroda, in 1999; and Eicher

Gallery, New Delhi, in 1995. His works have also been part of many group exhibitions including ones at the Gallery in Cork Street, London, in 2007; ArtsIndia, New York, in 2005; Gallerie 88, Kolkata, in 2003; Manchester Art Gallery, London, in 2002; and Kunsthalle Wein, Vienna, in 2002. In 1995, Ray was invited to participate in the Bangladesh Biennale. In 1999, he received the Sanskriti Award from the Sanskriti Foundation in New Delhi, and in 1991 he was honoured with an Elizabeth Greenshields Foundation grant.

Ray lives and works in Baroda.

TUSHAR JOAG (b. 1966)

Tushar Joag describes himself as a public intervention artist. He founded PWC (Public Work Cells), an organization that aims “to create works of art that seek to make interventions in the urban space, by designing and producing objects that while being functional and aesthetic bring into focus the various concerns of the immediate situation.”

A conscientious artist deeply aware the problems and tensions of contemporary urban life, Joag spends his time doing things like developing a special vending cart for hawkers that folds up into a ‘Shanghai Couch’, on the approach of prowling BMC officials. All his works carry a strong social message and address issues prevalent in our society including the corruption of the judiciary, political hierarchy and disparity of wealth. Joag’s drawings are meticulous, but do not appear to be confined; some images appear in momentum, others seem to entirely break away from the limitations of the canvas. Tushar Joag was born in Bombay in 1966. In 1988, he received his Bachelor’s degree from the Sir J. J. School of Arts, Mumbai, and in 1989, he completed his Master’s degree from the Faculty of Fine

Arts, Maharaja Sayajirao University, Baroda. The artist’s solo shows include ‘Reconciliation and Truth’ at Chemould Prescott Road, Mumbai, in 2008 and ‘Willing Suspension’ at Gallery Chemould, Mumbai, in 2005. Joag has also participated in numerous group shows including ‘India Art Now: Contemporary Indian Art Between Continuity and Transformation’ at Provincia di Milano, Italy, in 2007; ‘Here, There, Now: New and Recent Work by Artists from India’ at Soulflower Gallery, Bangkok, in 2007; ‘Pink’ at Galerie Mirchandani + Steinruecke, Mumbai, in 2007; ‘Subcontingent: The Indian Subcontinent in Contemporary Art’ at Fondazione Sandretto re Rabaudengo, Torino, Italy, in 2006; ‘Hungry God: Indian Contemporaries’ at Arario Beijing, in 2006; and ‘We Are Like This Only’ at Vadehra Art Gallery, New Delhi, in 2005.


Born in Bombay in 1967, the Indian artist Sharmila Samant lives and works in the city now known as Mumbai. Her fine art education at Sir J. J. School of Art was followed by a diploma in interior design. Samant uses a multi-disciplinary approach, working in photography, installation and video. Samant’s work deals with issues of identity within a global context, particularly looking at the homogenising

effect of commodification in relation to developing economies. She states, ´the projects I undertake involve eclectic collecting, documenting and recycling of urban debris, looking at the mundane and the profane. The works critique the market forces that define the cultural and art practices of the peripheral nations and question how our identities, within the global set up, can be sustained via a hybridisation of our culture.´

Between 1998 and 2001, Samant spent much of her time in Europe, with two years as a guest artist at the Rijksakademie van Beeldende Kunsten in Amsterdam and a 4-month residency at Gasworks in London. Samant characterises this period with dry humour, ´I am here now, but I am going home. Most of my work done in the last four years deals with this aspect of transition.´ During her time in London

she painstakingly catalogued the dust from under the floorboards left by numerous visiting artists. Incorporated into a duvet sewn by the artist, ´the work stands as a physical manifestation of the now absent past artists – many of whom Samant feels may have craved the symbolised comfort and warmth on arriving in a new and strange environment´ (description in Gasworks residency report).

An active member of the Mumbai visual arts community, in 1998 Sharmila Samant was the founder of Open Circle Arts, an artists’ initiative which aims to create a platform for a meaningful dialogue among artists in the city on an intercultural level addressing current issues. Transnational workshops and projects are organised through Open Circle.

T. V. SANTHOSH (b. 1968)

Born in Kerala, T.V. Santhosh obtained his B.F.A in painting from Santiniketan and Masters in Sculpture from MS University, Vadodara. T V. Santhosh has acquired a major presence in the Indian and International  art scene over the last decade with several successful shows with many international art galleries and museums. Santhosh’s recent sculptural installation from ‘Passage to India’ is in the Frank Cohen collection at Initial Access.

“One of the elements that instantly captures the critical imagination of the viewer while engaging with the works of T.V. Santhosh is the meticulous way in which they transgress the mundane media images into the realm of a critique of media-culture in general. This character of our global society is one of the center-points of T.V. Santhosh’s artistic scrutiny. One of the recurring thematic of T.V. Santhosh’s work can be broadly defined as the overarching presence of the notion of violence in contemporary societal

life. His works simultaneously engage with the physicality of violence as well as the notions of violence

produced by various statist apparatuses. “His paintings are based on images taken from the news media which Santhosh renders in solarised colour schemes, in reference to photographic negatives. His images of choice document war, terrorism and violence. What strikes us immediately about Santhosh is his grasp of the crises of our globalised present, his taste for translating current events, even as they unfold, into narratives that are too allegorical to be history, yet too mutable to be myth. His pattern of selection is determined, however, by the key themes of war and catastrophe: his is an art attentive to the specific idioms of contemporary global conflict, to the diabolical pact between knowledge and terror, the skewed antagonism between puissant globality and weakened locality. Significantly, the artist is preoccupied with the distortion of science and technology into vehicles of terror: the laboratory, as much as the battlefield, is where the action of his paintings is set; the two venues are often conflated.” – Ranjit Hoskote He lives and works in Mumbai.


Archana Hande was born in Banaglore in 1970. She lives and works in Bombay and Bangalore, India. She graduated in Printmaking at Visva-Bharati, Santiniketan in 1991 and completed her M.F.A at M.S. University, Baroda in 1993.

Hande’s artwork and creative practice has always extended into diverse modes, venues, concerns and forms. Her creative practice has also lead her as an artist curator and as an organisor. Her notable project is, 2002 to 2008. It is a web and installation project that investigates the Institution of arranged marriages and the entire package that comes within religious traditional structure. Among her other projects are: Archanadevi Chamber, All is Fair in Magic White, Relics of Grey, Tales of Patachitrakar etc. She has had solo shows of her works at Z2O/Sara Zanin gallery in Rome, Gallery Chemould in Mumbai, Nature Morte & JNU in Delhi, Lakeeren in Mumbai etc… Her works have also been included in important group shows such as (Incheon Women Artists’ Biennale, Korea; Guangzhou Triennial, China; NIFCA, Helsinki show, etc).

In 2000, she won the Charles Wallace India Trust Arts Award to participate in the Glasgow School of Arts Residency Program. She was awarded the Majlis Fellowship for Visual Arts, Mumbai for the years 2007-2008. Lately she received a research grant from Pro Helvetia Switzerland, 2010 She has also participated in many national and international workshops.

TALLUR L. N. (b. 1971)

Bangalore born Tallur is an Indian artist who has rarely ventured outside India and grew up in the rural community. His works speak of the grinding poverty in the cultivated countryside. Employing Indian signs and symbols, Tallur conceives works that are characteristic of the underbelly of India, while still successfully managing to translate the anxiety of his subject matter to a larger audience. Untitled

contains a hospital bed, with battered and torn inflatable mattresses piled high. The bed with the added sound of breathing, inflates and deflates like lungs. Tallur’s work delivers an incredibly depressing sight and sign of the objects of social utilitarianism. His sculptural works are riddled with the agony of laboured situations. For the artist, there is a pleasurable absurdity in the dishevelled traditions of the farmlands and the villages when compared to the new American-styled hyper-real cities that function as cash accumulators.

RIYAS KOMU (b. 1971)

Riyas Komu was born in 1971 in Kerala, and moved to Mumbai in 1992 to study literature. Dropping out during his final year, Komu eventually obtained his Bachelor’s and Master’s degrees in Fine Art from the Sir J. J. School of Art in 1997 and 1999 respectively. Since his graduation, Komu has been constantly asserting and pushing himself with a strong body of work. The artist’s oeuvre, spanning several different media and genres, is particularly noticed for its strong political overtones. His paintings, to put it in his own words, carry a protest symbol one way or the other. He has remarked, “I strongly feel it is my duty to be political. I believe that my paintings should look back at the viewer rather than just tell a story or hang on the wall.”

Influenced by his father’s political leanings and his own brief associations with political student groups, Komu is keen on using his work to “ring alarm bells” about the explosive urban situation he encountered in Mumbai. His body of work references the paradoxes of the urban situation, where on one hand, there is glamour, and on the other, abject poverty. Creating his pieces with equal doses of compassion and cynicism, Komu’s work reflects both hope and dejection – a tribute to the spirit of all those who continue to survive the city and its paradoxes. Some of Komu’s recent solo shows include ones of his photographic works at the Guild Gallery, Mumbai,

in 2008 and 2005, and two exhibitions held at Sakshi Gallery, Mumbai, in 2005 and 2002. His works have also been featured in group exhibitions held at Saffronart and the Guild Gallery, Mumbai, in 2004; the Harmony Show, Mumbai, in 2003, where he won the ‘Excellence Award for Emerging Artist of the Year’; the Fine Art Company, Mumbai, in 2002; the Guild Gallery, Mumbai, in 2001 and 2002; Lakeeren and Tao Art Gallery, Mumbai, in 2000; and the National Gallery of Modern Art annual shows in 1999

and 2000. In 1997, Komu received the two year long K. K. Hebbar Foundation Society Scholarship, and has also been honoured with the Bombay Art Society Award in 1996 and the Maharashtra State Art Prize in 1995.

The artist lives and works in Mumbai.


Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice – spanning painting, photography, video and sculptural installations – frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.

Over the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies.

She lives and works in Mumbai.

GIGI SCARIA (b. 1973)

Gigi Scaria (b. 1973) Kerala, B.F.A. painting, College of Fine Arts, Thiruvananthapuram, 1995; 1998 M.F.A. painting, Jamia Millia University, New Delhi, 1998. His solo shows include Amusement Park, Gallery Chemould, Mumbai, Settlement, Galerie Christain Hosp, Berlin,Germany, curated by Jamila Adeli, 2009; Site under construction, Video Space, Budapest, Hungary, Triviality of everyday existence, recent photographs and video, The National Art Studio, Changdong, Seoul, Korea, Palette art gallery, New Delhi 2008; Absence of an Architect, video installationspaintings and photographs, Palette Gallery, New Delhi, 2007.

His group shows include Yamuna –Elbe Project: A site specific installation project at the bank of River Yamuna in Delhi, Curated by Ravi Aggarwal (2011), India side by side, Centro Cultural Banco do Brasil, in Rio De Janeiro, Brazil ( 2011), Every one agrees: it’s about to explode, curated by Ranjit Hoskote, India Pavilion at 54 thVenice Biennale ( 2011), Tolstoy Farm : Archive of Uttopia, Curated by Gayatri Singha (2011), Crossroads: 3rd Singapore Biennale, curated by Russell Storer and Trevor Smith( 2011), West Havens: Place time play: India China Contemporary Art, Shanghai, China. Curated by Chitanya Sambrani (2010).

SAMTIDIGT Indian contemporary art exhibition, Helsinki City Art Museum, Finland and Kulturhuset, Stockholm, 2010;

ARCO Art Fair, Madrid; BAPU Curated by Gayatri Sinha, Saffron Art, Mumbai; 2009; Video Zone-4, The 4th International video art Biennial, Tel Aviv, Israel; Chalo India, Mori Art Museum, Tokyo, Japan; Who knows Mr. Gandhi? Aicon Gallery, London, 2008; Public Places/Private Spaces: Contemporary Photography and Video Art In India, curated by Gayatri Sinha, The Newark Museum, New Jersey, U S A; Horn Please: Narratives in contemporary Indian Art Kunstmuseam Bern, Switzerland, 2007; Impossible India, at Frankfurt Kunstverein. curated by Nina Montmann supported by Goethe-Institute, Germany, 2006; Crossing Generations Diverge, National Gallery of Modern Art, Mumbai, curated by Geeta Kapur and Chaitanya Sambrani, 2003.

Gigi’s videos, installations, paintings and photographs engage with the issues of the ever changing character of the urban developments while keeping a close eye on the social systems, migration and architectural spaces of contemporary India. He has been a part of important residencies and workshops. Recipient of the prestigious Inlaks and the Sanskriti awards, Gigi’s works have found place in prominent museums and collections and have been well received worldwide.

The artist lives and works in New Delhi.


Jitish Kallat’s work derives much of its thematic and visual vocabulary from the immediate urban environment of Mumbai where he lives. His work has been exhibited at museums and institutions including Tate Modern (London), Martin Gorpius Bau (Berlin), Gallery of Modern Art (Brisbane), Kunst Museum (Bern), Serpentine Gallery (London), Mori Art Museum (Tokyo), Palais de Beaux-Arts (Brussels), Hangar Bicocca (Milan), Busan Museum of Modern Art, Astrup Fearnley Museum of Modern Art (Oslo), ZKM Museum (Karlsruhe), Henie Onstad Kunstsenter (Oslo), Arken Museum of Moderne Kunst (Copenhagen), Institut Valencia d’Art Modern (Spain), Art Museum (Tokyo), Art Gallery of Ontario (Toronto), Art Gallery of New South Wales (Sydney) and the Gemeente Museum (The Hague) amongst many others. His work has been part of the Havana Biennale, Gwangju Biennale, Asia Pacific Triennale, Fukuoka Asian Art Triennale and the Guangzhou Triennale amongst others.

He has had several solo exhibitions at galleries such as Chemould Prescott Road (Mumbai), Haunch of Venison (Zurich and London), Arario Gallery (Beijing and Seoul), Arndt (Berlin) and Nature Morte (Delhi). His recent solo shows were held at the Bhau Daji Lad Museum (23 rd April – 15th Oct 2011) in Mumbai and the Art Institute of Chicago (11th Sept 2010- 11th Sept 2011).

JOSH P. S.(b. 1974)

Josh P. S., born 1974 in Vakkom, Kerala did his M.F.A. Painting in 1999 from Jamia Millia Islamia, New Delhi and B.F.A. Painting from College of Fine Arts, Thiruvananthapuram, University of Kerala, in 1995

with Distinction. Based in New Dehi since 1995. His Participation in International Exhibitions and Fair Include: “Art Stage Singapore” 2011, “India Art Summit” 2011, “Eye Of India – A Section of Indian contemporary Artists” at Bartha & Senarclens Partners, Singapore and “ Walking The line” group show Zurich, Switzerland, Feb 2008. His Solo Shows are “Missing Links” at Galerie Mirchandani+Steinruecke, Mumbai, 2009; “Alone In The Crowd” Bose Pacia, Culcutta, 2008; “Who Owns Peaock Throne” Nature

Morte, New Delhi, 2007; “Preview” Dravidia Art Gallery, Kochi, Kerala, 2001; “The Trial” Garhi Gallery, New Delhi,2000 and “Repetitions” Dravidia Art Gallery Kochi, Kerala,1999. In 2010 he participated in “Alt + Refresh” Pigment Art, New Delhi; “Who Has Seen Gandhi” Tangerine Art Space. Bangalore; “Spiral Jetty” Nature Morte, New Delhi; “The Way We are” Mon Art Gallery, Calcutta; “Evidentia” Gallery Sumukha, Bangalore and Chennai. Group Shows in 2009 are “Mining Minds” Chaithanya Gallery, Kochi;

“The People” Shrine Empire Gallery, New Delhi and “Desaturation” at Palette art gallery, New Delhi was in 2008. “Real 2007” Group Show at Rabindra bhavan, New Delhi and “Obscure object of Desire” Ernakulam, Kerala were in 2007. “Compensation for what has lost” Group show, Travencore House, New Delhi, 2006; “Real 2006” Group Show at Visual Arts Gallery, IHC, New Delhi. “Double Enders” The

Art Transport – an Exhibition conducted in Jehangir Art Gallery Mumbai, Vadhera art gallery in New Delhi, Gallery Sumukha in Bangalore and Durbar Hall at Kochi, Kerala 2005. “Kerala Images” A group show at Travancore House in 2005; “Summer ’05” Nature Morte, New Delhi in 2005. 47th National Annual Exhibition of Arts, New Delhi, 2004; “History Exfoliated” A triptych exhibited in ‘Being and – Belonging’ a show at Arpana Fine arts and Literature, New Delhi in 2004; “Median” A group show in New Delhi in 2004; “Things Fall Apart” A series of paintings exhibited in “Between Rivers” A show in West End, New Delhi in 2004; “Invations” along with a poster workshop at Meera Centre for Arts, New Delhi 2003. 45th National Annual Exhibition of Arts, 2002; New Delhi “Heat” a group show of 16 Delhi Based artists in Visual Art Gallery, Habitat Centre, New Delhi, 2002; “Can”, a group of 70 Indian artists

exhibited in Visual Art Gallery, Habitat Centre, New Delhi, 2002. “Two Man Show” at Art Inc. New Delhi, 2001; “Small But Significant” Group Show, Academy of Fine Arts & Literature, New Delhi, 2001. 42nd National Annual Exhibition of Arts, 2000, New Delhi. ‘Explorations’, a site specific Art Exhibition held at J. M. I, 1998. Mobile Shows in Chennai and Bangalore organized by Kerala Lalit Kala Academy.

His works are in private collections in India and abroad. He had also awarded the Junior Fellowship in 2002 in the field of visual arts from H. R. D. Ministry, Govt. of India and National Scholarship 1996 by H. R. D. Ministry, Govt. of India.

He lives and works in New Delhi.

SHILPA GUPTA (b. 1976)

Shilpa Gupta (b. 1976) lives and works in Mumbai. She had solo shows at Contemporary Art Center in Cincinnati, OK Center for Contemporary Art, in Linz, Gallerie Yvon Lambert, Paris and Vadehra Gallery, New Delhi. Gupta has participated in been invited to the Younger Than Jesus Triennale at New Museum, New York; Lyon Biennale ‘09 curated by Hou Hanru; Gwangju Biennale ‘08 directed by Okwui Enwezor and curated by Ranjit Hoskote; Yokohama Triennale ‘08 curated by Hans Ulrich Obrist; Liverpool Biennale ‘06 curated by Gerardo Mosquera and biennales at Moscow, Auckland, Seoul, Havana, Sydney and Shanghai. Her work has been shown in Tate Modern and Serpentine Gallery in London, Daimler Chrysler Contemporary in Berlin, Mori Museum in Tokyo, Chicago Cultural Center, Devi Art Foundation in Gurgaon amongst others. Upcoming solo shows will be at Gallery Chemould, Arnofini in Bristol and Museum voor Moderne Kunst, Arnhem.


Benitha Perciyal K., born in Vellore, Tamilnadu, she completed her MFA from the Government College of Arts & Crafts, Chennai, in 2002 in painting & printmaking. Her solo shows include Perturb Me Not, at Alliance Francaise, Madras in 2004 and at Lalit Kala Akademi, Chennai in 2003. She has also participated in various camps at Chennai, Pondicherry, Gantok, Thissur and Panchmadhi in Madhya Pradesh. She has participated in a lot of national & international exhibitions. The Chennai based artist says that mirror image, in many ways, sparked off Perciyal’s reflective journey in art, becoming the central motif in all her varied creations-installations, paintings and mixed media. Perciyal’s work is unnervingly real and tangible. She is well known in the art industry and has received many national and international awards. She currently lives and works in Chennai, India.


Sumakshi Singh’s work traverses lines between metaphor, reality and Illusion and ranges from playson space-time theories to cultural, historic and physical critiques of place, manifested in performance, installation, painting and animation. Singh’s work uses disconcerting phenomenological encounters. To ask questions about permanence and transience, object and image, fact and illusion, mapping and displacement, perception and knowledge, here and there while critiquing notions of “fixed“ universes and exposing the fragile set of givens upon which meaning is constructed. The artist has an extensive practice that varies from appropriating subtle microcosmic activity, to mapping Perceptual objects in spaces and interacting with them as if they were real. Singh is an artist and an educator who has taught for several years at the School of the art institute of Chicago and lectured at Oxford University, Columbia University and the Chicago Humanities Festival among other Museums and Colleges. She has mentored residencies for the Victoria and

Albert Museum, the WhyNot place 2010 and 2011 and was a visiting artist Advisor at Khoj, Delhi. Her interactive installations, paintings, drawings and sculptures have been presented in solo and curated group gallery and museum exhibitions in India, China, USA and Europe. Recent venues include Museum of Contemporary Art, Lyon, France; Maxxi Museum, Rome, Italy; Mattress Factory Museum of Contemporary Art, Pittsburgh, PA; Van Harrison Gallery New York, NY; Museum of Contemporary Art, Chicago, IL; Illinois State Museum, IL; Kashya Hildebrand Galerie, Zurich; Halsey Gallery, Charleston, Sc and Arthouse Texas. She was awarded a Zegna Grant in 2009, an Illinois Arts Council Award in 2007 (in recognition of outstanding work and Commitment within the arts) and Richard H. Driehaus Foundation award in 2005 (To support and encourage excellence, artistry, focus, direction, maturity, and originality in the visual arts). Her shows have been reviewed by: Younger than Jesus – the New Museum Catalogue,

The Village Voice, Artlovers, Austin Chronicle, Chicago Tribune, Chicago Reader, Chicago Arts Critics Association, Charleston City Paper, New Haven Register, Platform Magazine and Andpersand among other journals and papers. Artist residencies include Mac dowell Colony – USA, Djerassi Foundation – USA, Fondazione Pistolleto – Italy, Camargo Foundation – France, Skowhegan – USA, Camac – France And Sculpture Space – USA. She was a finalist for the Rijksakademie in 2006. Singh received an M. F. A.

from The School of the Art Institute of Chicago (Saic), Chicago, IL and a B.F.A. from Maharaja Sayajirao University, Baroda, India.


Chennai-based artist Parvathi Nayar’s uniquely hybrid work brings together elements of draughtsmanshipand painting, the analytical and the intuitive, and is rooted in questioning our relationships within the socio-cultural milieus in which we live. By treating her artworks as a site of dialogue where different elements – the scientific, the historical and the contemporary – meet and converse, she encourages  viewers relook once-familiar perspectives.

Parvathi did her Masters in Fine Art from Central St Martins College of Art and Design, London, on a Chevening scholarship from the British government. In 2007, she was the only artist invited by ArtSingapore, Singapore’s national art fair, to present an installation of drawings titled “Win Lose Draw”, in which she explored ideas of random chance and predetermined creativity. Her works have been

collected by institutions such as the Singapore Art Museum, The Sotheby’s Art Institute and Deutsche Bank. In 2008, her painting Firelight was selected to be featured on ABN Amro’s Dil Se platinum card in Singapore. Her work has been successfully auctioned at events such as Art Chennai. Parvathi’s selected group shows include in 2012 – India Art Fair, New Delhi; in 2011 – What happens in

Mukteswar, curated by Priya Pall, New Delhi, “Women Artists in Singapore”, Singapore Art Museum (in conjunction with the launch of the book of the same title), “Red” Palette Art Gallery, New Delhi; in 2010 – “Earth and Water” Singapore Art Museum, Singapore, “Cinema Verite Redux” curated by Shaheen Merali, Gallery Sumukha, Bangalore and Chennai, “Her Work is Never Done”, curated by Bose Krishnamachari, Gallery BMB, Mumbai, “Search Within”, presented by Galerie88 and Sanjay Tulsyan, Kolkotta, “Feminine Recitals” curated by Veerangana Solanki, Exhibit 320, New Delhi; in 2009 – Indian Art Summit, New Delhi, “Perspecta”, inaugural show, Contemporary Arts Centre, Cholamandal, Chennai; in 2008 – “Drawing Out Conversations”, in conjunction with the Singapore Biennale, Singapore, “Af-fair”, curated by Bose Krishnamachari, 1×1 Gallery Dubai, “Nature of the City”, curated by Alexander Keefe & Nitin Mukul, Religare Arts Initiative Limited, New Delhi; in 2006, “Nature Born” curated by Joanna Lee, Indonesia; in 2005 CP Biennale II curated by Jim Supangkat, Indonesia; in 2001 “Pulp Friction” curated by Bridget Tracy Tan, Singapore Art Museum.

Parvathi’s selected solos include in 2008 – “i sing the body electric”, Bombay Art Gallery, Mumbai, and “The Art of Giving”, Arts House Gallery, Singapore; in 2007 – “Win Lose Draw”, commissioned by ARTSingapore, Singapore; in 2006 -“Innerscapes”, Singapore and “drawing is a verb: an installation”, curated by Phan Ming Yen, The Arts House, Singapore; in 1998 – “Journey”, Jakarta; in 1997 – “Flowers, Faces, Feelings”, Jakarta; in 1996 – “the art of a woman”, the Koi Gallery, Jakarta; in 1994 – “Woman and

the Elements”, Temasek Polytechnic, Singapore.


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