Divya Singh's art  practice is primarily rooted in painting and explores themes such as isolation, experience, memory and mortality – emanating largely from a poetic engagement with Time. Mediums such as photography, writing, cinema and painting are at the center of her language as a practitioner and have featured as important categories of both work and interest. These varied elements come together within the work and can be seen most distinctly in the artist books made by her, as well as in found imagery which accompanies the paintings and other media during

My practice examines the complex relationship between our terrestrial species and landscapes; drawing from the tension between our exploitative, extractive processes, and the imaginations/fictions of care, mutation, survival, regeneration and ‘hope’. It departs from the spilling demands of our technological era that depend on further depleting the Earth’s natural resources and studies its vast implications on the future of our ecological systems. Deriving from scientific, infrastructural and climatic data and an archive of images created over the past 8 years, my practice employs the language/devices of science fiction and gaming worlds to coalesce geology, archaeology,

Born in 1939 in Gujarat, Manu Parekh completed a Diploma in Drawing and Painting from the Sir J.J. School of Art, Mumbai, in 1962. Parekh’s early work explored the relationships between man and nature, as according to him, this was an energetic link that had to be celebrated. The artist also points out that, since then, contradictions have formed the basis of his artistic practice, no matter the subject or genre of his works. Banaras as a city came to play an integral role in Parekh’s work after his first visit there following his father’s death. This holy city of hope, of faith, of tourists offered him a vast number of contradictions in one location. Parekh also

Ekta Singha's practice delivers upon personal interpretation of layers of experiences woven with paraphernalia of design motifs, forms and elements derived from miniature paintings. Her interest in Mughal, Persian and Rajput miniature paintings allow her to develop an independent language that makes its entrance in a pictorial surface that is layered with metaphorical and personal references. The miniature visual elements help her to create the desired pictorial

Prabhu Harsoor (1962) has been reflecting on forms that transpire between the abstract and the figurative and acquire a visual language that is particularly his own. He has several visualisations from his memories that have given his works a special treatment in the realm of the distorted from that of the concrete. Some of his abstractions are similar to a linguistic script and are deliberately engaging with the idea of the formation of a language. Very evocative of the famous Indian modernist Artist Vasudeo S. Gaitonde's works, Harsoor explores alphabets as he visualises them and, in the process, engages with the idea of the artistic practice of script-making and the lingering