Mansi Trivedi's work formulates through a deep respect for nature through the world of textures and patterns. Be it the bark of a tree or the rugged surface of an ant hill, the thrill of creating an art piece with the same tactile quality using material of choice has been her decade long journey of experiments and learning. Further manifestation into the play of negative and positive spaces, light and shadow, tonal variations, and magnification for detail made it more challenging and interesting. This process and style of work enables her to engage deeper with patterns and forms in nature and carry on with the study of marks and remnants of natural

Shobha Broota, born in 1943 in New Delhi, began her artistic journey as a classical Indian vocalist before turning her focus to fine art. It is fitting to say that her work “aspires to the condition of music,” echoing the sentiment of Victorian essayist Walter Pater. Like classical raags, Broota’s canvases exude tranquility and a deceptive simplicity. Her abstract forms foster a meditative experience that transcends narrative confines. The rhythm and subtle movement of her lines, the rich resonance of her colours, and the complex, compelling texture of her surfaces create a captivating visual language. Throughout her long and celebrated career, Broota has explored various

Born in 1964, Manisha Parekh is a distinguished artist known for her commitment to abstraction. She holds a Master’s degree in Painting from both the Royal College of Art in London (1991-93) and M.S. University in Baroda (1983-1990). As one of the founding members of Khoj International Artists Workshop, Parekh has been a vital part of India’s contemporary art scene. Her work stands out in India today for its purely abstract language, drawing on influences from the ethereal minimalism of Gaitonde, the precise geometry of Nasreen Mohammedi—one of her teachers in Baroda—and the expressive ink drawings of Jeram Patel. Parekh’s practice is also deeply rooted in the

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,

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