Amrut Patel's Abstraction by Dr. Ved Prakash Bhardwaj

Amrut Patel (1947)

Known for his unique visual language and innovative approach, Amrut Patel’s art journey has spanned almost six decades. Over this long and evolving period, his artistic expression has taken multiple directions. While he has gained wide recognition for his abstract paintings, he has also created a compelling series of works influenced by tribal masks. Engaging with abstract structures on canvas—layered with light and dark shades of colour and infused with musical undertones—he presents a world where memory and the present coexist on the same plane.

Amrut Patel consistently challenges the popular misconception that abstraction is a formless or meaningless exercise. For him, colours and shapes have intrinsic significance, but it is ultimately the artist who must define their direction and context. If an artist cannot take responsibility for this direction, Patel believes they should not venture into the domain of abstraction at all. His solo exhibition at Gallery Prologue, Mumbai, began on June 12, 2025, and will continue until July 30. Curated by Urvi Chheda, this exhibition features his recent abstract works created over the last few years.

Amrut Patel was born in 1947 in a village near Ahmedabad. His artistic journey began in 1968 with a Diploma in Painting, after which he also received formal training in fresco and mural techniques. At a time when the digital era is characterized by virtual space, Patel had already begun exploring the concept of virtuality in art decades ago. His ability to evoke a symbolic or suggestive presence of reality in the virtual makes his work particularly compelling.

While studying art in the 1960s, Patel was initially drawn to miniature painting. The influence of folk art is also clearly visible in his early works. As he progressed into the 1970s, his work briefly reflected elements of neo-tantric art, but he soon moved beyond that stylistic influence. Over the years, he has developed a signature aesthetic in which abstraction is fused with a subtle human presence, making his visual language distinct.

When he began integrating human faces and body parts into his compositions, he deliberately chose abstraction over realism. While fragments of human faces occasionally appear, he has never adopted a fully realistic approach. Yet, his art unmistakably conveys the realities of life and the spirit of the times. His free-flowing shapes may be interpreted as expressions of human longing for freedom. These forms have appeared and reappeared throughout his body of works—symbols of liberation and continuity.

Patel has worked with both defined geometric forms and abstract shapes, using them to broadly reflect human conditions and generalized identities. At one point, he ventured into structural abstraction, adding another dimension to his artistic vocabulary. In essence, his art is a continual exploration of human experience, traversing diverse paths—some smooth, some challenging—along this journey.

To understand Amrut Patel's current exhibition, one must first decode the forms that emerge on his canvas and papers. These shapes—though unfamiliar—evoke a sense of recognition, as if they are rooted in lived experience. Some resemble the ruins of lost civilizations, while others echo the complexity of contemporary life. At first glance, his compositions appear simple in structure. He often employs varying shades of a single colour, layering them thoughtfully. At times, he introduces another colour subtly or applies it adjacent to the existing palette. Using acrylic paints, he achieves a transparency and depth akin to watercolour, giving his works a calm, contemplative quality.

This meditative aura evokes a persona similar to that of Dhirudutt Nayak—serene and introspective—as if a spiritual practitioner is silently chanting mantras on the canvas. As a result, his works are free from visual cacophony—no noisy clashes of colour or overly assertive shapes. And yet, amid the abstraction, traces of the human figure emerge, adding a sense of mystery and broadening the interpretive possibilities of the work. This dynamic interplay between presence and absence is what gives his art a multifaceted resonance.

Many of his recent works feature geometric shapes, while others include architectural motifs—sometimes in the form of incomplete structures, suggesting a dialogue between the past and present. References to civilizational memory have frequently appeared in his older works as well, including symbolic depictions of archaeological characters. A similar sense of historical continuity can be seen in the current exhibition. Some paintings also echo the design aesthetics of ceramics and traditional crafts. In these works, even where humans are visually absent, their implied presence is palpable.

My first encounter with Amrut Patel’s art was in 2004. Since then, I have had the privilege of seeing his paintings on numerous occasions—both in his studios and at various exhibitions. Each time, I found something new unfolding on his canvas. Although his painting technique has remained consistent, the compositional direction continues to evolve, always offering something fresh and forward-looking.

When a person expresses their experiences and emotions through a distinct visual language, the result becomes deeply personal. However, when an artist communicates with the audience through universal elements like colour and form, that expression transcends individuality—it becomes collective. This rarely achieved state is central to Patel’s artistic pursuit. He often poses the question: When will such a moment arrive? He answers it himself—only when an artist creates with complete sincerity, without any inhibitions, does this transformation happen.

Thus, we often experience, while engaging with his art, the moment where the creator’s expression becomes the viewer’s own. That is why Amrut Patel’s art is not merely personal, but a social expression—a mirror of our times, a reflection of all that is constantly happening around us.

बी प्रभा की कलाः B. Prabha

बी प्रभा अपने स्टूडियो में चित्र रचना करते हुए।

"महिलाओं के आघात और त्रासदी को चित्रित करना मेरा लक्ष्य है"

    लंबी छरहरी देह, चेहरे पर कुछ उदासीनता और सिर पर या बगल में टोकरी, या मछलियों को पकड़ने वाले जाल के आगे जाती हुई स्त्री, यह बी प्रभा की कला की एक पहचान है। आभायुक्त रंगों के साथ एक निश्चित परिवेश में स्त्री की स्थिति को रेखांकित करती उनकी पेंटिंग्स ने उस दौर में स्त्री को, उसके संघर्ष, उसकी अस्मिता और पहचान को एक नया आयाम दिया जब ज्यादातर कलाकार स्त्री चित्रण में सिर्फ सौंदर्य की तलाश करते थे। अमृता शेरगिल की ही तरह उनकी कला तत्कालीन समाज और उसमें स्त्री की स्थिति का बयान कही जा सकती है। बी प्रभा का जन्म 1933 में महाराष्ट्र के नागपुर के पास बेला गांव में हुआ था। एक मध्यवर्गीय परिवार में पली-बढ़ी बी प्रभा ने नागपुर स्कूल ऑफ आर्ट से पढ़ाई की और सर जे.जे. स्कूल ऑफ आर्ट, मुंबई से पेंटिंग और म्यूरल पेंटिंग में डिप्लोमा हासिल किया। उन्होंने ज़्यादातर कैनवास पर तैल रंगों से काम किया।  शुरुआती दौर में उन्होंने भूदृश्यों की रचना अधिक की पर बाद में उन्होंने मानवीय जीवन को केंद्र में रखते हुए अपनी विशेष शैली विकसित की। उनकी शैली इतनी लोकप्रिय हुई कि बाद में अनेक कलाकारों ने उनका अनुसरण किया। उनकी पेंटिंग में परिदृश्य से लेकर सूखा, भूख और बेघर होने जैसे सामाजिक मुद्दों तक कई तरह के विषय शामिल हैं। सबसे बड़ी बात कि उन्होंने उस दौर में महिलाओं के श्रम और संघर्ष को रचा जबकि दूसरे कलाकारों के यहां महिलाओं का चित्रण उनके दैहिक सौंदर्य तक सीमित था।

बी प्रभा की विशिष्ट शैली 1956 में साथी कलाकार बी. विट्ठल से शादी के बाद विकसित हुई। बी विट्ठल चित्रकार और शिल्प कलाकार थे। वह अलंकारिक काम करते थे। उनसे शादी से पूर्व बी प्रभा भूदृश्य और अमूर्त चित्रण कर रही थीं। उसी वर्ष उन्होंने अपने पति के साथ अपनी पहली संयुक्त प्रदर्शनी आयोजित की। उन्होंने अपनी पेंटिंग्स का मुख्य विषय उस स्त्री और उसकी स्थिति को बनाना शुरु किया जो निम्न मध्यवर्ग की थी, जो आर्थिक क्रियाओं में शामिल थी, हालांकि उसका उसे की श्रेय नहीं दिया जाता था। उनके चित्रों में जो महिलाएं हैं, वह ज्यादातर ग्रामीण पृष्ठभूमि की हैं या मुंबई जैसे शहर के मछुआरों की बस्ती की हैं। वह उच्च वर्ग की सजी-धजी रूपवती नहीं हैं बल्कि कुछ श्यामल, आभूषणहीन, साधारण कपड़ों में काम कर रही महिलाएं हैं। इसे बी प्रभा की तत्कालीन समाज में स्त्री की स्थिति पर एक टिप्पणी के रूप में देखा गया। 1950-60 का दशक भारतीय समाज में कई तरह के बदलावों की शुरुआत का समय था। राजनीतिक और सामाजिक स्तर पर मध्यवर्गीय वर्जनाएं टूट रही थीं तो निम्न वर्ग अपने अस्तित्व के लिए सामाजिक मर्यादाओं को तोड़ने के लिए मन बना रहा था। यह वह समय था जब भारतीय साहित्य और सिनेमा में सामाजिक चेतना के स्वर प्रमुख हो रहे थे। साहित्य में प्रेमचंद, फणिश्वरनाथ रेणु, निराला, महादेवी आदि से लेकर फिल्मों में सत्यजीत रे, बिमल रॉय, राज कपूर, केदार शर्मा, ख्वाजा अहमद अब्बास, गुरुदत्त, चेतन आनंद, सुनील दत्त जैसे कलाकारों और फिल्मकारों ने एक नयी सामाजिक चेतना को स्वर दिया।  जाहिर है कि इसका प्रभाव दूसरे क्षेत्रों पर भी पड़ा जिसमें से एक कला भी है।

बहरहाल, बी प्रभा की कला को देखें तो हम पाते हैं कि उनकी पेंटिंग्स में किसी तरह का कला कौशल या चमत्कार नहीं है। उनके काम एकदम साधारण प्रतीत होते हैं क्योंकि वह सब थे भी साधारण जीवन के चित्र। कलात्मक प्रयोगों के स्थान पर उनमें हमें सहजता दिखाई देती है। उन्होंने प्रयोग किया पर वह मानवीय आकार के साथ किया। चूंकि उनकी स्त्रियां साधारण परिवारों की, और अक्सर कामकाजी थीं, इसलिए उनमें दैहिक सौंदर्य के प्रदर्शन की संभावना कम ही थी, हालांकि उनकी पेंटिंग्स में स्त्रियां बदसूरत हैं, ऐसा बिल्कुल नहीं कहा जा सकता। उनकी कला का सौंदर्य जीवन संघर्ष का सौंदर्य है।

बी. प्रभा ने 1959 और 1961 में दिल्ली की कुमार गैलरी में दो एकल शो आयोजित किए। 1993 में, मुंबई में उनकी एकल प्रदर्शनी ‘श्रद्धांजलि’ उनके दिवंगत पति बी. विट्ठल को समर्पित थी। प्रभा के काम को 1996 में मुंबई में जहांगीर आर्ट गैलरी में समूह प्रदर्शनी ‘समकालीन भारतीय चित्रकार’ में शामिल किया गया था। वह 1958 में बॉम्बे स्टेट आर्ट प्रदर्शनी का भी हिस्सा थीं, जहां उन्हें प्रथम पुरस्कार से सम्मानित किया गया था। 2001 में उनका निधन हो गया। 

डॉ. वेद प्रकाश भारद्वाज

Some Thoughts on Abstract Art by Dr. Ved Prakash Bhardwaj

Dr. Ved Prakash Bhardwaj 

    A question has often been raised about abstract art: What exactly is it? Is abstraction in the shape, in the use of colours, or is it abstract only because it lacks recognizable form? Is it something born in the artist's mind while creating it, or does it arise in the mind of the viewer while observing it? Or is it a purely conceptual process? Art in India has existed in many forms for centuries, yet its theoretical framework has been less developed, which is why we lack a comprehensive written history. Consequently, abstract art is often seen as a discovery of the Western art world. However, India has long been home to abstract forms—the Shivalinga being one of the oldest, and the imagination of Brahma also being abstract. Nirgunopasana, a spiritual stream from the Bhakti period in Hindi literature, too, embodies abstraction. Despite this, when we speak of abstract art in painting, we often look to Western examples. 

V.S, Gaitonde

    For a long time in India, modern art was synonymous with abstract art, a perception that still persists to some extent. Perhaps this is because we have not approached our tribal and folk art traditions through an artistic lens. If we had, we would have seen that we, too, possess a deep tradition of abstraction, and we need not look West for its inspiration. Many Indian artists—S.H. Raza, G.R. Santosh, K.V. Haridasan, Biren De, J. Swaminathan, Ramkumar, Manu Parekh, R.M. Palaniappan, Ambadas, and Sadanand Bakre, along with Nasreen Mohammadi, Shobha Broota—have demonstrated this through their dedicated practices. Abstraction also lies at the core of the work of many modern Indian craftsmen. In India, the stream of abstraction flows naturally in cultural, literary, and spiritual contexts, whereas in the West, it had to be discovered. 

Bipin Kumar

    In the West, toward the end of the nineteenth century, some artists began to feel that the figurative tradition of painting restricted their creative freedom and obstructed the path to artistic infinity. Abstract art in the West is generally understood as a combination of shapes, colours, and lines that do not resemble the visible world. The nineteenth century saw major shifts in technology, science, and philosophy, prompting artists to seek a form of art distinct from visual reality and established social-intellectual paradigms. Terms like "humanoid," "subject-less," and "non-representative" are used interchangeably with abstract art. Before abstraction, art focused on depicting human figures and nature, presenting recognizable subjects and replicating the visual world. These works were carefully proportioned, with meticulous attention to spatial arrangement and lighting, creating an illusion of reality. 

Ambadas

    However, movements such as Impressionism and later Expressionism initiated a new approach to colour, planting the seeds of abstraction. Artists like Picasso and Braque advanced it through Cubism, while Kandinsky and Jackson Pollock transformed it into a celebration of colour and form. Figurative art can be seen as a journey into the external world—a world we consciously perceive. Abstract art, on the other hand, leads us inward, into realms not directly accessible but felt emotionally. Hence, it defies containment in any one form. Abstract art is, at its core, freedom from the bondage of form. Even so, geometric abstraction, bound by form, cannot be called complete abstraction. During a discussion with senior painter Jai Zharotia, he remarked that no painting can exist without abstraction. This highlights the idea that every painting has an abstract foundation, no matter how realistic it appears. Therefore, when a painting includes geometric or Tantric references, it may not qualify as entirely abstract, even if it attempts to dissolve form through colour blending. 

Akbar Padamsee

    Complete abstraction is achieved when the painting contains no identifiable form—only the interplay of colours, leading to formlessness. Few Indian artists have successfully achieved this. Conversely, many Western artists—who lacked a traditional framework for abstraction—have made complete abstraction a possibility. Jackson Pollock, for instance, turned his canvases into a joyous play of colour, defying verbal explanation. Kandinsky and Mondrian also created works of complete abstraction, although Kandinsky's later works included geometric elements. In India, V.S. Gaitonde was perhaps the first artist to realize complete abstraction in many of his paintings. The layered application of colour in his work remains a source of inspiration. Gaitonde's influence extended even to printmaking, and had he lived longer, he might have furthered abstract art in India. Artists like Manish Pushkale have drawn inspiration from Gaitonde but developed their own techniques and styles. S.H. Raza holds a historic position among Indian abstract artists. While known for geometric forms, his finest abstract works are colour-based compositions, especially those in his Rajasthan series. 

Ram Kumar

    Ram Kumar, who began with figurative painting, later immersed himself in abstraction, becoming a major influence on younger artists. His abstract representations of Banaras and mountainous landscapes form a chorus of colours, sometimes clearly referential, sometimes purely suggestive. Akbar Padamsee is often remembered for his figurative work, yet his abstract "Metascape" series remains important. Prabhakar Kolte created his own abstract language after much struggle, influencing many with his flowing colour techniques. J. Swaminathan integrated tribal art into abstraction, a legacy continued by his son Harshvardhan. Swaminathan significantly influenced artists in Madhya Pradesh, including Yusuf and Anwar, both original and effective voices in abstraction. Gopi Gajwani, known for describing his paintings as musical compositions of colour, has also achieved complete abstraction. One must "listen" to his paintings, spending time to feel their rhythm. 

Manu Parekh

    Manu Parekh, while not typically identified as an abstract artist due to his recognizable depictions of Banaras, temples, and boats, infuses his works with abstract emotion and spirituality—painting not the physical city but its soul. His "Devi" and "Flower Sutra" series further this abstract spiritual exploration. Ganesh Haloi has created remarkable abstract watercolours, showing how minimal means can achieve profound abstraction. Amrit Patel's use of transparent colour layers lends his work a unique identity, often approaching complete abstraction. Jeram Patel’s black abstract paintings and later works with wood, glass, and metal add another distinctive voice. 

Amitava Das

Jeram Patel

    Amitava Das navigates both form and formlessness, his early human figures gradually dissolving into abstract motion. Mona Roy employs diverse materials, pushing abstraction toward installation art. Shobha Broota has carved out her niche with geometric forms and explorations of light, recently using thread and wool on canvas. Ambadas, through his colour compositions, sometimes reveals forms but often achieves balance and formlessness. Umesh Verma, though influenced by Tantric motifs, creates abstractions centered around dynamic lines and colour interplay. 

P Gopinath

    P. Gopinath, an important figure in South Indian abstraction, remains under-recognized due to limited exposure. Kalicharan evokes shapes within abstract structures, reaching complete abstraction. Today, many young Indian artists are drawn to abstraction. While some lack distinctive direction, many are finding their voice—among them, Yusuf, Anwar, Akhilesh, Yogendra Tripathi, Hemraj, Santosh Verma, Satish Sharma, Muralidhar Rai, Dinesh Kumar Ram, Samindranath Majumdar, Surendra Pal Joshi, Narendrapal Singh, Nupur Kundu, Anis Niyzi, Ramesh Kher, Ramesh Anand, Saba Hasan, Sujata Bajaj, Alka Lamba, Vikas Joshi, Seeraj Saxena, and Amit Kalla. As abstract art continues to evolve in India, it draws upon deep traditions and bold innovations. In future discussions, we will explore the work of more such artists shaping the contemporary landscape of Indian abstraction.

Crystal of Nature : Landscape paintings by Rajesh Sharma

 

Nature has always been a favourite subject for artists. Its beauty, mystery, and ever-changing forms have captivated humanity across centuries. Yet, for painters, nature poses a unique challenge—its diversity is so vast, its moods so ephemeral, that no single canvas can fully encompass its essence. The same sky changes colour from place to place; mountains surprise with their shifting shapes and structures; rivers, though eternal companions of the earth, are never the same at every turn or moment. Artists have long attempted to bring forth these myriad aspects, blending imagination with direct experience to create scenes that delight and mesmerise viewers.

This is precisely the experience one encounters when standing before the paintings of senior artist Rajesh Sharma. His solo exhibition, Crystal of Nature, will at the Shridharani Art Gallery, Triveni Kala Sangam, New Delhi, India, from 8th May to 18th May 2025, offering viewers a glimpse into a distinctive vision of nature.

Rajesh Sharma’s work seeks to capture not merely the outward appearance of nature but its radiant inner spirit. While many landscape artists aim for a realistic representation, Sharma transcends the literal, evoking the supernatural and sublime through his unique use of colour, texture, and light. In Indian philosophical traditions, the myriad forms of nature are imbued with divinity—an acknowledgement of their life-giving powers. It is this sense of reverence, mystery, and vitality that informs Sharma’s art.

Nature has long been a wellspring of inspiration for poets, philosophers, and artists. Across centuries, painters have sought to express nature’s countless moods and moments in varied styles, a tradition that continues to evolve. Yet few have forged as distinctive a path as Rajesh Sharma. At a pivotal moment in the history of landscape painting, when artists shifted their focus from human stories to the land itself, Sharma embraced this shift wholeheartedly.

In Indian art, especially within traditional painting, nature was often depicted in the service of human emotions. Pure landscapes—unpopulated by figures or narratives—were rare until the late 19th century. With the rise of the Bengal School and parallel movements in Lucknow, Delhi, and beyond, landscape painting gradually emerged as an independent genre. Within this tradition, Rajesh Sharma’s name stands out, marking nearly five decades of dedication to the art of painting, with over forty years immersed in exploring nature as his central muse. Today, he is recognised as a significant figure both in Delhi and on the wider Indian art scene.

His landscapes are not tied to specific geographical locations. Instead, they emerge from deep observation and an intuitive connection with the transient forms of nature. Mountains, hills, plains, valleys, lakes, rivers, earth, and flora—all are present in his canvases, yet they do not merely reproduce external scenery. Rather, they convey a deeper resonance, evoking the soul of nature’s fleeting manifestations.

Rajesh Sharma’s paintings offer a dual experience: on the one hand, they evoke a comforting sense of familiarity; on the other, they invite the viewer to look beyond the surface, into the unseen and the unsaid. His canvases are suffused with a cosmic play of light and colour, creating an atmosphere both luminous and mysterious. The soft, silky caress of light, the delicate layering of colours, and the interplay of lines and shapes together construct a world where beauty and meaning are veiled, waiting to be uncovered.

In these works, the shimmering particles of nature seem to glow from within—a quality that aptly inspired the exhibition’s title, Crystal of Nature. This latest body of work, spanning recent years, reveals a subtle yet significant evolution in Sharma’s practice. Here, we see an intensified focus on the softness of colours, the atmospheric blending of forms, and an ever-changing dialogue between light and shadow. Through these delicate shifts, the viewer is invited into a space where harmony and contrast co-exist, echoing nature’s own rhythms of balance and transformation.

Each painting offers an open entry point: whether one chooses to engage with the whispers of nature through colour, or seeks to hear the silent voices embedded in textures and forms, the journey is uniquely personal. Through his art, Rajesh Sharma endeavours to make the inaudible voices of silence visible—those subtle murmurs that often remain unspoken yet ever-present. His paintings reflect the presence of a deeply sensitive artist, one who articulates a profound dialogue between nature and mystery, weaving his vision through a unique colour language and aesthetic sensibility.

At a time when the urgency to reconnect with nature feels more pressing than ever, Rajesh Sharma’s landscapes offer more than beauty; they provide an invitation to pause, reflect, and feel. His paintings remind us to listen to the sound of silence flowing within every tree, every mountain, every river. They ask us not just to see nature, but to truly experience its unseen depths, its quiet mysteries, and its timeless grace.

Dr. Ved Prakash Bhardwaj

Art: There Is a Market but No Thoughts — By Dr. Ved Prakash Bhardwaj

(Reflections on the Vanishing Discourse in the Age of Record-Breaking Auctions) 

 April brought staggering headlines for the Indian art world—not for its ideas, not for its provocations, but for its price tags. On March 19, M.F. Husain’s monumental painting Gram Yatra was sold for an astonishing ₹118 crores at Christie’s. A 14-foot-long work made in 1954, this untitled piece is composed of 13 panels and is a celebration of India’s post-independence rural life—colorful, diverse, and honest. But in today's environment, what is being talked about is not what Husain painted, but how much it sold for. His painting has become India's most expensive, a new record—but what of its artistic value? This silence speaks volumes about how art today is consumed, discussed, and valued. 

 From Spontaneity to Speculation 

Gram Yatra hails from a period when Husain was not yet a cultural icon galloping across canvases or mingling with celebrities. His art then carried a raw, spontaneous energy. In this work, we see not Husain the hero, but Husain the observer—quietly chronicling the rhythms of a country in transition. But now, Husain is rarely discussed as a painter. His name appears in auction headlines, not in critical discussions. This is not just his story, but the fate of many great Indian artists—where art becomes a commodity, and discussion is reduced to digits. 

A Culture of Numbers

Not Nuance Just days after Husain’s record sale, Tyeb Mehta’s Trusted Bull fetched ₹61.80 crores at Saffronart’s anniversary auction. Created in 1956, before Mehta adopted his well-known diagonal composition style, this work is a powerful precursor to his mature period. It reflects a different aesthetic language—layered, exploratory, and intensely personal. Once, Husain had publicly acknowledged Mehta as the greater artist. But the market has quietly rewritten that relationship as a rivalry. Who is the most expensive? Who leads the chart this quarter? The answers lie not in exhibitions or essays, but in bank transfers. These records may suggest that art is gaining prestige, but they also reveal the shrinking space for serious thinking about it. In our collective fascination with price, we have forgotten to ask what the painting means, what it says, what it dares to imagine. 

 The Death of Art Criticism 

What’s more troubling is how the art media has adapted to this market-driven ethos. Coverage is often limited to sales figures or celebrity appearances at openings. The opening night has become more important than the exhibition. A recent experience illustrates this: At a Delhi gallery, I was speaking to a senior artist when a photographer asked him to pose—alongside another artist he hadn’t even greeted. A photo was taken. No conversation. No context. Just an image for the papers. This is now the extent of our art journalism. A culture that once produced rich, critical discourse now runs on curated visuals and glossy write-ups. The very platforms that once enabled nuanced conversations now chase visibility over vision. 

The Cost of Neglect

There is one upside: the general public now sees art as valuable, even investable. But the downside is graver—the slow erasure of thought from our relationship with art. The value of a painting is no longer about what it reflects, challenges, or reveals. Instead, it’s about whose wall it hangs on and how much it fetched at auction. This transition has made art a spectacle, not a statement. A status symbol, not a social or emotional inquiry. And this loss—of reflection, of criticality, of deeper engagement—is perhaps the true price we are paying.

Who Will Talk About Art?

When M.F. Husain and Tyeb Mehta are reduced to auction house legends, when paintings are discussed in terms of crores instead of concepts, when galleries become red carpets and critiques become Instagram captions—we must ask: where is the thought in art? Until we reclaim the space for ideas in art, we risk letting the market write our history, our values, and even our tastes. In this new economy of aesthetics, let us not forget: art is more than a price—it is a question, a conversation, and sometimes, a quiet rebellion. 

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Flower Sutra by Manu Parekh

An Exhibition by Manu Parekh

It is not possible to separate Manu Parekh and Banaras. Like Ram Kumar, he has been painting the various dimensions of Banaras for years. Both the physical and spiritual aspects of Banaras are visible in his art. Recently, his solo exhibition was held at Nature Morte Gallery in Delhi, in which flowers are at the centre.

Nature Morte is pleased to present a new body of work, "Flower Sutra," by one of Delhi's most prolific senior painters. Continuing an artistic practice that began in the 1970s, Manu Parekh shows no signs of slowing down or resting on his laurels. The exhibition of works on canvas and paper created in the past few years is evidence of a mind that continues to challenge how the heart can come together with the hands to create works of passion and bravura.

In his latest works, Parekh continues his lifelong engagement with dualities: order and chaos, stillness and movement, creation and decay. A painter attuned to life’s energies, he channels these tensions into compositions that pulse with rhythm and contrast. Energy is central to Parekh’s practice, made visible through his brushstrokes. Layers build upon each other: thick impasto meets delicate washes, jagged lines cut through fluid colour, creating a surface that hums with spontaneity and intention. His paintings don’t just depict movement; they embody it, drawing the viewer into their restless depths. Rather than impose order, Parekh embraces flux. His brushwork reveals movement, capturing the restless energy that animates both nature and human experience.

Manu Parekh, Madhavi Parekh and Nupur Kundu

Amitava Das, Madhavi Parekh and Mona Roy

Uma Shankar Pathak, P R Daroz and Sambit Panda

Suraj Kumar Kashi and Uma Shankar Pathak

Flowers, a recurring motif across cultures, anchor his work in a broader artistic lineage. In Indian miniatures, they symbolize abundance; in Dutch still life, transience. Here, they mark both change and continuity, dissolving and reforming within the painted surface. As Parekh has noted, "Where there is faith, there will be the presence of flowers. Life, birth, marriage, and death: flowers will be there. I have visited the Vatican, Ajmer, Nizamuddin Auliya's dargah, gurudwaras, and Banaras. There were only two things common to all these places: faith and flowers."

Dr. Ved Prakash Bhardwaj

(Photographs by Praveen Mahtoo)

Lal Bahadur Singh: Art in a social context

artist Lal Bahdur Singh with writer Dr. Ved Prakash Bhardwaj and artist mukesh Shah

Lal Bahadur Singh's art seems to be a powerful commentary on the conflict between urban development and nature, highlighting not just a critique, but also a vision for a more balanced future. The way he incorporates birds and other elements of nature into his work, particularly the symbolism of their diminishing space in urban landscapes, is both poignant and thought-provoking. His installation made of cloth, symbolizing the relationship between food grains and birds, beautifully weaves together nature’s interdependence with human systems, offering a glimpse into a more harmonious coexistence.

The idea that development, particularly in metropolises, often comes at the expense of natural systems and wildlife is something that resonates deeply. The imagery of birds in his paintings—whether perched in the spaces between brick walls or hovering over piles of construction material—creates a stark visual representation of this tension between progress and nature. You can almost feel the suffocating effect of urban expansion on life, both human and non-human, which Lal Bahadur Singh critiques so effectively through his art.

What strikes me as particularly powerful is how his art does not just present a problem; it also proposes solutions. The organic city and organic home depicted in his work are more than just artistic visions—they’re potential blueprints for a more sustainable future. It’s a rare and refreshing approach where art doesn’t just highlight a crisis but urges us to think about ways to navigate out of it. His solo exhibition is currently going on at Bikaner House, New Delhi from 4th to 9th April 2025. This exhibition has been organized by Gallerie Navya.