Ganesh Haloi : Silence, Space, and Emotion By Dr. Ved Prakash Bhardwaj

Ganesh Haloi expresses the beauty of nature and its mysterious structures through a distinct and newly nuanced artistic language. His solo exhibition at Akar Prakar Gallery, New Delhi, brings to light various dimensions of his art, in which the imaginative quality of his image-making and the autonomy of his design emerge as prominent elements. The paintings, mostly executed on paper, present a remarkable synthesis of the concrete and the abstract in their structural composition. At times, he employs familiar geometric shapes, while at other moments he introduces forms that evoke both geometric and architectural sensibilities. Yet, as cohesive structural entities, the paintings remain fundamentally abstract. 

It is significant that Ganesh Haloi is widely credited with establishing abstract art within the Bengal School. While many of his contemporaries were preoccupied with exploring expression through the physical form of human life and bodily shapes, Haloi chose instead to distil the essence of life through his own unique artistic vocabulary. The current trajectory of abstract art within the Bengal School bears the clear imprint of his influence. In engaging with his works, one encounters expansive colour fields, calligraphic lines, delicate dots, architectural contours, and geometric shapes that collectively invite viewers to perceive and contemplate both the physical and metaphysical dimensions of existence. 

His art appears less concerned with conveying a singular, definitive message and more invested in expanding the viewer’s capacity for observation, reflection, and introspection. Through this process, the viewer is drawn into a realm of experience that, though intimately connected to life, often remains unseen or unarticulated. Ganesh Haloi’s creations are marked by a profound sense of serenity in their elegance and communication, particularly in works dominated by expansive and subtly modulated colour fields. These chromatic compositions often evoke abstracted landscapes. 

However, these landscape-like formations function less as representations of the physical world and more as expressions of inner emotional states. They demand engagement beyond surface perception, resonating instead with the emotional and psychological terrain of human experience. The concrete, when fully resolved, leaves little room for mystery or curiosity; it becomes complete and, in a sense, empty. Haloi’s works gesture toward this emptiness, yet they embody incompleteness rather than finality. Through the introduction of geometric shapes, lines, and points, he disrupts this emptiness, anchoring his compositions within worldly contexts where emotion and feeling take precedence. To evoke these emotions, Haloi incorporates both recognisable and enigmatic motifs. 

It is crucial to note that emotions are inherently fluid and never static or complete; their shifting nature is what aligns them with abstraction. For this reason, human emotions themselves can be described as abstract. Haloi seeks to perceive and represent this emotional realm in an alternative manner, and thus, even as abstraction permeates his work, it remains intentionally incomplete—just as no emotion can ever reach absolute closure. The transparent and semi-transparent layers of colour in his paintings deepen this abstraction, adding complexity and depth to the emotional landscape he constructs. 

A prevailing sense of peace and silence characterises much of Ganesh Haloi’s imagery. Yet within this stillness, he creates possibilities for dialogue on multiple levels: among the juxtaposed formal elements within the paintings, between the artwork and the viewer, and between nature and human consciousness. His work is fundamentally non-narrative; nonetheless, in engaging with his compositions, one senses the presence of fragmented memories and dispersed imaginations. The melancholic resonance of a lost or vanishing landscape, conveyed through translucent layers of colour, often feels poetic—like a soft, distant voice echoing through a deserted valley. At times, it is as though the rustling wind brushing against standing crops permeates the atmosphere with an almost musical cadence. 

Moments of melancholy surface in his landscapes, yet they are neither fixed nor overwhelming; the artist does not allow them to settle permanently. While Wassily Kandinsky consciously propelled his artistic language toward abstraction and sought to translate music into visual form, Ganesh Haloi situates abstraction primarily within the realm of emotion. At the same time, on a formal level, he continuously fragments and challenges this abstraction. Ambiguity—and even more so, incomprehensibility—represents the ultimate stage of abstraction, a stage rarely reached in Haloi’s work. Instead, clarity and ambiguity coexist as two compelling dimensions of his art, captivating viewers through their subtle interplay. 

The transcendental quality often attributed to Ganesh Haloi’s works arises from the conceptual logic and pictorial structure underpinning his compositions. This structure is also deeply aligned with principles of minimalism: his paintings favour minimal forms, openness over density, and an expansion of the invisible. Within this openness, certain visual elements symbolically allude to human existence and consciousness. At the core of abstract art lies the pursuit of the true self—an inherently human essence shaped by the dynamics of nature. Clement Greenberg’s critical perspective is relevant here, as he emphasised the exploration and interrelation of form, space, and surface in abstract art. The presence and interaction of these elements in Haloi’s work can be understood as a reflection of human life itself, since all forms, even those derived from nature, ultimately convey facets of the broader human experience.

All photographs of paintings from Akar Prakar Gallery. portrait of Ganesh Haloi created by artist Uday Shankar

Beauty of Nature: Solo Exhibition of Praveen Saini

Praveen Saini

When the tenderness of nature and the fluid grace of watercolour descend together onto paper or canvas through an artist’s brush, the viewer is inevitably spellbound. The art of senior artist Praveen Saini is infused with this same sensitivity. Nature and spirituality have been his cherished and central themes. His solo exhibition titled ‘Beauty of Nature’ was held from 4 to 10 January 2026 at Gallery No. 1 of the Lalit Kala Akademi in Delhi. In this exhibition, he primarily presented watercolour works created on paper.

During his travels to various places, Praveen Saini often creates small-sized watercolour paintings. In this process, he engages in a direct dialogue with nature, shaping visual images that also carry a poetic sensibility. The remarkable play of light and shadow can be clearly seen in his works. The grandeur of distant mountains, along with the vastness of the landscape, becomes encompassed within a small picture. Within that expansive terrain, one can also sense organic movement and the mysterious play of nature—phenomena that may not be fully comprehensible, yet so deeply captivate the human mind that the viewer feels compelled to keep looking.

Although many artists are active in the field of landscape painting, the depth of feeling, dedication, and commitment with which Praveen Saini works distinguish him from his contemporaries. The presence of imagination in landscape creation is natural, but in Praveen Saini’s paintings, even this imagination appears closely aligned with reality—as if it were a sensitive extension of what has been directly observed.

 

Dr Ved Prakash Bhardwaj and Praveen Saini

The beauty and sensibility of landscape in watercolour have a long and rich history in human artistic tradition. Across cultures and centuries, artists have turned to nature as a source of inspiration, emotion, and contemplation. However, it is neither fair nor meaningful to compare artists who create watercolour landscapes, as each artist’s vision is deeply shaped by their cultural background, personal philosophy, and relationship with nature.

An Indian landscape and a European landscape are naturally different, not merely in visual appearance but in the very approach and mindset of the artist. In the European tradition, landscape painting has often been rooted in observation, realism, or aesthetic appreciation of nature as an external subject. In contrast, in India, landscape painting emerges from a more intimate and inward engagement with the natural world.

In the Indian artistic tradition, art is not just an act of representation but a holistic and spiritual experience. It is seen as a way of connecting with the larger cosmos, with life, and with the divine presence within nature. Indian landscape artists do not simply depict mountains, rivers, trees, or skies; they experience and internalise them as living, breathing entities. Their paintings often carry a sense of kindness, reverence, and gratitude toward nature for offering a beautiful, nurturing, and harmonious environment.

Thus, Indian watercolour landscapes are not merely visual depictions of scenery but expressions of a spiritual sensibility—where nature is not a separate object to be painted but a sacred presence to be felt, honoured, and celebrated through art.

-Dr Ved Prakash Bhardwaj

Collage International Art Carnival Sets a New Benchmark in the Indian Art Scene

Ashwani Kumar Prithvasi, Sanjeev Kumar Gautam, and other guests honouring Bose Krishnamachari.

The Collage International Art Carnival, held at the Lalit Kala Akademi, Delhi, from January 13 to 18, 2026, has firmly established itself as a landmark event in the Indian art world. Emerging as a vibrant confluence of creativity, the carnival demonstrated how the vision of a single artist and his institution can bring together diverse artistic practices, generations, and geographies on one expansive platform.

Shri Dalip Singh Hitkari and Naven Kumar Jaggi with Art News India magazine, and editor and artist Dr Ved Prakash Bhardwaj

Shri Shuhas Bahulkar at both of the Garhi Artist Studios. 

The journey that artist Ashwani Kumar Prithviwasi, founding director of the Delhi Collage of Art, began two decades ago has now taken on an international dimension. What started as a focused artistic initiative has grown into a large-scale cultural movement, reflecting both perseverance and an unwavering commitment to nurturing art and artists.

Anoop Ratn presenting his thoughts. 

This year, the carnival went far beyond the conventional format of an art exhibition. Alongside an extensive display of artworks, the event also honoured many of the most respected artists, art writers, filmmakers, playwrights, poets, and curators of our time. Eminent personalities such as Jatin Das, Krishnamachari Bose, Aparna Caur, Dr Sachchidanand Joshi, Prayog Shukla, Sandeep Marwah, Alka Pande, Georgina, Vinod Bhardwaj, Kavita Nair, Inder Salim, Harshvardhan Sharma, Anoop Ratn, Dr Ved Prakash Bhardwaj, Akshat Sinha, Ajay Sameer, Amit Dutt, and Prafulla Sawant, among many others, were recognised for their significant contributions to the cultural landscape. While a major exhibition was showcased in the main gallery of the Lalit Kala Akademi, the Akademi’s grounds were transformed into a dynamic cultural hub with multiple booths. These booths hosted exhibitions by art institutions and galleries from across the country, creating an open, accessible environment where visitors could engage directly with artists and their work.

Honouring Kavit Nayer

Honouring Aprna Caur

view of carnival. 

A large central stage became the heartbeat of the carnival, hosting a continuous lineup of programmes that included music, dance performances, poetry readings, theatre, film screenings, and panel discussions. Prominent institutions participating in this segment included Delhi College of Art, Jamia Millia Islamia, Triveni Kala Sangam, the artists’ group from Lalit Kala Akademi’s Regional Centre Garhi, Kaladham, Bal Bhavan, Urban Fingers, Uchaan Art Gallery, Astitva Art Gallery, Dehradun Art College, Blue Dot Art Gallery, Shankar Academy, and many other institutions and galleries.

young artists presenting their thoughts.

Dr. Ved Prakash Bhardwaj with Aswani kumar Prithviwasi 

Harshvardhan Sharma sharing his knowledge. 

Dr. Sachchinand Joshi addressing artists and art lovers. 

Artists from more than 20 countries took part in the carnival, reinforcing its truly international character. One of the special attractions, particularly for younger audiences, was the display of AI-generated art, which sparked lively discussions about technology, creativity, and the future of artistic expression. Live demonstrations, performance art, and interactive sessions further enriched the experience for visitors. The carnival also emphasised participation and learning. Workshops were organised for both children and adults, offering hands-on experiences in pottery, drawing, and printmaking. 

Live demo. 

These activities attracted enthusiastic participation and allowed visitors to explore their own creative potential. Thousands of art lovers found opportunities to present their creativity across various art forms, making the event inclusive and community-orientated. Several art talks and discussions were organised throughout the week, featuring both Indian and international artists. The sessions conducted by Chawky Frenn, Associate Professor at George Mason University, USA, were particularly impactful, offering valuable insights that resonated deeply with participating artists and students. The many dimensions of artistic creation showcased during the carnival clearly demonstrated that there is a strong and growing interest in art within society—an interest that needs sustained nurturing and meaningful platforms. Speaking about his vision, Ashwini Kumar Prithviwasi remarked that the carnival itself is his art. He noted that contemporary artists often function within isolated groups, disconnected from one another, and that this initiative was an attempt to bridge those gaps. “The enthusiastic participation of people and the wholehearted involvement of ordinary visitors in various workshops prove that when given the opportunity, people do not hesitate to engage with art,” he said. In every sense, the Collage International Art Carnival stood as a celebration of collaboration, inclusivity, and creative exchange—offering a powerful reminder that art flourishes most vibrantly when artists and audiences come together on a shared platform.