HER STORY

A GROUP EXHIBITION BY PRIYANKA AELAY, VEENITA CHENDVANKAR, BHARTI PRAJAPATI, KOYAL RAHEJA, KRISHA BHUVA, MEGHANA KISHORE, NAINA MAITHANI, RUCHI BAKSHI, ANURADHA BHAUMICK, MEENAL SINGH, DEVIKA SUNDAR, DURGABAI VYAM, MADHURI KATHE, PAYAL ROKADE, RAKHEE SHENOY, SHWETA MANSINGKA, DIMPY MENON, SUJATA ACHREKAR, MAINAZ BANO

23 JANUARY - 20 FEBRUARY 2026

Anuradha Bhaumick is a contemporary textile artist known for her vibrant, hand-embroidered pieces that capture everyday life and cultural narratives. Anuradha creates mini universes that celebrate the beauty of the mundane, often featuring scenes of women in domestic or outdoor settings. Her distinctive style blends intricate embroidery techniques with fabric scraps and bold colors, creating a tapestry of emotion and storytelling. Inspired by her heritage and personal experiences, Anuradha’s art bridges tradition and modernity. Her creations have garnered international attention, resonating with audiences for their warmth, relatability, and masterful craftsmanship. Anuradha continues to push the boundaries of embroidery as a fine art.

Bharti Prajapati’s work is a reimagining of Indian folk art, in which the characters are both fantastical and deeply familiar. Living land is a culmination of all elements that make us what we are. As we grow we absorb the environment around us, along with this the tradition and culture from our family create layers of memories which shape us into what we become. The earthen pots are symbolic of treasures preserved by our ancestors who have lived on this land and exchanged stories of the past.

Durgabai Vyam is one of the foremost female artists working in the Pardhan-Gond tradition of tribal art. Although she lives and works in Bhopal, most of Durgabai’s work is rooted in the rich folklore and mythologies of her birthplace, Burbaspur, a village in the Mandla district of Madhya Pradesh. Her art is inspired by the stories she heard as a child from her grandmother. Even while using the pointillist dots, fine dashes and minute waves that characterise Pardhan-Gond painting, Durgabai’s use of vibrant colours for the stippling is part of her unique voice, and is matched by the fable-like quality of her paintings. They present a range of goddesses, rivers, trees, a variety of animals from tigers and deer to peacocks and garden lizards, and occasionally male gods – all rendered in her original and very contemporary style. Durgabai is also the author and illustrator of several books.

Dimpy Menon was the first Indian sculptor to win the Lorenzo il Magnifico Bronze Award at the Florence Biennale. Dimpy has been called a “Natural” by World Sculpturemagazine which said, “She captures the graceful, acrobatic movements of the human body with rare sensitivity.” Dimpy has had several exhibitions in India and abroad. When the Oberoi Hotel in Mumbai re-opened its lobby after the terror attacks of 26/11 a prominent change was a bronze sculpture there by Dimpy. The seven-foot composition has been described as “stunning” by the travel guru Mary Gostelow. Dimpy’s works have been specially commissioned by some of the largest hotel chains and corporate houses, including The Oberoi, The Leela, The Marriott, The Holiday Inn, Crowne Plaza, TVS, Indo-Us Venture, General Electric, National Semiconductor, UKN, TotalEnvironment, VR Bengaluru, World Trade Centre (Pune), The 42, Kolkata, Bengaluru International Exhibition Centre, Bosch, Bangalore. The CNN International told its patrons, “Don't miss the sculptures by Dimpy Menon dotted around the premises at the Trident in Bandra-Kurla.

The human body, both in its material and abstract form, takes central place in Devika Sundar’s multidisciplinary practice. Combining research in medical imaging with conscious experience and imagination, she makes diagrammatic renditions of the body in its entirety and also its fragments. These emergent forms are intuitively related to the microcosm and macrocosm; they emulate the organic building blocks of nature, whether constituents of flesh and blood, or intrinsic elements of outer space and the deep sea. Her work moves beyond the thresholds of the visible, to what is felt or sensed. She paints forms that are dynamic, alive; whether isolated within empty space, or a part of meticulous configurations, they seem to flow and ebb, intrinsic to the nature of water-colours and inks they are created with. Tendrils sway in fictional tides, surrounded by speckles, dots and lines, textures and tinted washes, in a distinctly earthy colour palette, echoing the organic and cyclical nature of growth.

Krisha Bhuva is a promising young visual artist currently based in Gujarat. Her practice is deeply rooted in an admiration for nature’s quiet elegance—the graceful movements of birds, the softness of organic textures, and the timeless beauty of the feminine form.Krisha’s recent body of work explores the nuanced interplay between fabric and skin, often using nude self-portraits as a powerful vehicle for self-expression. By integrating traditional Indian aesthetics with contemporary sensibilities, she creates visual narratives that challenge societal norms around the female body. Her art becomes a personal yet universally resonant space—one that celebrates vulnerability, autonomy, and quiet defiance. As she continues to evolve, Krisha Bhuva’s work offers a fresh and introspective voice in the emerging landscape of Indian contemporary art.

Koyal Raheja in her practice, focuses on connecting her familial and autobiographical memory to public histories through drawings, paintings and physical spaces. In her work, she often questions systems and structures of the past and present through different lenses of conformity, rebellion and separation. Some of her presentations have included You can take the day off (2023) at Blueprint12, New Delhi, IN, Mumbai Gallery Weekend (2023) at IFBE Spaces, Mumbai, IN, Delhi Contemporary Art Week (2022) at Bikaner House, New Delhi, IN, Young Collectors Weekend (2022) at India Art Fair Parallel, New Delhi, IN, Cenacolo Fiorentini #8 (2018) at the San Marco Museum Library,
Florence, IT, Bring into Play (2018) at Accaventiquatro Casa Galleria, Prato, IT, and Re-Memory (2017) at OnArt Gallery, Florence, IT.

Madhuri Kathe’s paintings are an outpouring of her mystical insights, spiritual experiences and revelations. All of her paintings begin with nature and its unscripted nuances, and her readings and understanding of spiritual texts and scriptures. The process through which she creates her art is akin to a meditative state where she spontaneously connects with colours and the canvas in a lilting, expressionist tango. The abstract paintings which follow these personal experiences are cryptic illustrations of her unique perceptions. A verse in the Bhagavad Gita, a rock, mountain or seascape – each of these shapes her free-flowing, non-figurative works. Kathe believes that the concept of “macrocosm and microcosms” holds infinite possibilities for artists and thinkers. Awash in a symphony of liquid amber, earth tones and ethereal blues, she perceives the world as transient, emphasising the supremacy and eternity of the mind.

Meghana’s artworks draw you into an abstract wilderness of colour, sensation, texture and light. Her abstract acrylics map luminous terrains that are a transportive meditative experience – a deep breath that evokes peace, calm, and solace. The organic, amorphous, muslin-thin mists and shapes that float across her expansive canvases are achieved by pouring watered-down paint onto the canvas, letting the paint take its own form. The artist then nudges the paint in different directions, repeating the process in layers to create enigmatic, intuitive pieces. On her process, she says, “After all – in life, we only have limited control. For the rest, we need to let things take its course.” Meghana’s earthy, ethereal palettes full of browns, blacks, white and blues resemble elemental natural forces, contributing to this sense of comfort, inner peace, and the idea of giving way, and letting the world take over.

As an artist, Meenal Singh operates from a point of deep engagement with her process and medium, which is primarily oil-on-canvas. Working not with brushstrokes or palette knives, but the unique flow and behaviour of the pigments themselves, she transforms liquid colours into vast swathes of form and space, emulating imaginary landscapes and abstracted topographies of the mind. Over the years, she has built a repertoire of expansive formats; paintings that play with intense colour, texture, transparency, and the visual effects of light and motion. From her early work that presented busy compositions and densely layered surfaces, Meenal’s artistic language has evolved into a distinctly calm and contemplative space, alongside her confidence and mastery in the medium.

Mainaz Bano is a contemporary visual artist known for her intricate paintings inspired by historical events, personalities, and narratives. Her work is heavily influenced by Indian miniature painting, with subjects often resembling historical figures in detailed costumes, environments, and expressions that reflect the aesthetics of past eras. Mainaz’s art blends traditional techniques with a modern sensibility, offering contemporary perspectives on historical themes. Her aesthetic is characterized by meticulous attention to detail, vibrant color palettes, and an exploration of identity and transformation. Awarded several accolades, including the Lalit Kala Akademi Award, Mainaz continues to examine complex cultural narratives in her art.

Over the years, Naina has developed a repertoire that explores internal truths and feelings through the expressive depiction of the natural world. The foundation of her work is the evocative use of colour, whether applied in smooth, uninterrupted fields or textural layers. Employing intuitive devices of transparency, juxtaposition and contrast, she experiments with ranges of luminosity and depth, creating sensitive, abstract colour-scapes that showcase a fluid balance of freedom and control with brushwork. Naina has the ability to play with moods and atmospheres, her life philosophies becoming embedded within the simplicity or sophistication of the depicted scene.

Payal Rokade, is an up and coming artist from Umred, a small town in Maharashtra. Her close relationship with nature is the foundation of her work, reflecting the harmony, complexity, and the fragility of this connection. As she moved to a large city, she noticed that the calm of nature was replaced by the relentless rush of urban life—the constant hum of cars, hurried footsteps, and a silence where nature once thrived. This shift had a deep impact that began to surface in her dreams. One recurring nightmare featured a world where nature had vanished, leaving only towering buildings behind—a chilling image that resonated with the irregular climate patterns we now witness. This dream became the inspiration for this series, Dream City. Through her work, Payal continues to explore the complex relationship between nature and humanity. As we move forward in our pursuit of progress, we often forget that nature, too, is unstoppable.

Priyanka Aelay’s acrylic works unfold like magic realist tales filled with birds, beasts, animals, trees and flowers in bold, vibrant colours. Her mythical, enchanted forests are filled with intricate motifs, exquisite patterns and striking imagery. On her canvas, age-old folk heritage — particularly from Telangana, from where she hails — is transformed into something that is distinctly contemporary and wholly unique, as she seeks inspiration from the environment and indigenous flora and fauna. Aelay’s paintings reflect the energy, momentum and simplicity of folk art, as well as the aesthetics and language of contemporary art. Paintings do not follow a linear perspective in the artist’s work, as she plays with space, dimensions and perspective to make the landscapes appear free flowing and free floating. Aelay’s works are an invitation to transport and immerse yourself in the unboundedness of nature and the wilderness, something sorely lacking in our urban ecosystems.

Ruchi Bakshi Sharma is a filmmaker, artist, and toymaker who studied Communication Design at the National Institute of Design. Known for her award-winning live-action and stop-motion shorts, Ruchi creates quirky characters inspired by unusual folklore, with magical powers, living in a world of myths and imagination. Her style is illustrative, featuring playful, mixed-up images and fantastical creatures, all examined closely. Ruchi works with various materials, including optical toys, lenticulars, jointed paper puppets, zines, and illustrated puzzles. Her work focuses on exploring how we see things, with play and movement being key elements that encourage viewers to see the world in new ways.

Rakhee Shenoy’s surreal still life collages transport you to a realm of wonder, comfort and escape. The textile artist’s dreamy works delight in the art of crossovers and flipping how we view reality. Layered and fluid mixed media works merge internal and external worlds as they spill over onto a single frame. Personal objects, memories and machines share space with wildflowers, vegetation, fruits and insects in a mind-bending mish-mash. A fish swims over a bowl of oranges and past a grocery bag over which an ant makes its way. With intriguing layers, textures, textual details, the artworks are made using embroidery, painting, hand-drawing and digital art. Shenoy adds symbols of personal significance and nature-based muses like silk moths, butterflies and fish, which represent freedom and beauty.

Shweta Mansingka is a distinguished ceramic clay artist whose artistic journey began in 1989 under the mentorship of renowned Indian artists Shri Ram Kumar Manna and Shri Devi Prashad. Her work explores the infinite possibilities of clay, reflecting her reverence for life’s vital energy. Shweta’s current installation, LockedVulnerabilities, is a silent ceramic wall piece that delves into the human condition of vulnerability. Using saggar-fired stoneware clay, antique keys, locks, and disks, the installation symbolizes the concealed vulnerabilities of individuals and the potential for liberation. It represents the transformative power of self-discovery, aiming to destigmatize inner vulnerabilities and encourage personal freedom.

Sujata Achrekar is a Mumbai-based artist whose compelling canvasses reel you in with their hypnotic faces and magnetic colours. Predominantly worked in oils with a profusion of earthy tones like burnt sienna, ochre and rust orange, the canvases occasionally feature white for contrast. However, Achrekar is not averse to more brilliant hues, also using blues, reds and yellows sparingly in her palette. Combining figurative representation with abstract schemas, her works attempts to convey personal reflections. Focussed on a central figure, her canvases create a meditative, pensive and often melancholic mood. Achrekar is particularly recognised for her Brahmin Brahmachari series, in which the figure of a Brahmin boy is foregrounded — tonsured-headed, traditionally attired and often quietly intense - superimposed upon Sanskrit verses and traditional manuscript imagery. Religion however, is not the subject of exploration in her works, which are far more focused on spirituality and the nature of seeking.

Veenita Chendvankar is a visual storyteller, weaving together essences of classical mythology and everyday experiences within her lyrical compositions. Painting with acrylic colours, over the years she has developed and mastered techniques of layering the canvas surface with pigment, producing softly tinted backgrounds against which mobile figures are playfully juxtaposed. The scenes are an ode to the environment, teeming with varied flora and fauna, both imagined and real in representation. The characters and creatures that inhabit these worlds are often hybrid and they merge the best of human and animal nature, while also connecting humanity with divinity.