Category: Art Exhibition

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Art Exhibition

JMD Art Gallery Presents “Breath Of The Infinite” A Group Exhibition Of Paintings By 5 Contemporary Renowned Artists

From: January 16 – 31, 2026

JMD Gallery Presents

“Breath of The Infinite”

A Group Exhibition of Paintings by Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya

VENUE:

JMD Art Gallery

J – 109, Ansa Industrial Estate,

Saki Vihar Road, Saki Naka,

Near Shiv Sagar Restaurant, Andheri East,

Mumbai, Maharashtra 400072

Phone: 093231 29595 / 09221133506

www.jmdartgallery.com

Timing: 11am to 7pm

Breath of The Infinite

A Group show of Paintings by five contemporary renowned artists – Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya will be displayed at JMD Art Gallery, J-109, Ansa Industrial Estate, Saki Naka, Andheri(West), Mumbai from 16th to 31st January 2026 between 11am to 7pm.

Santosh Kumar Sandilya paints Kashi not as a picturesque city but as a living cosmology, where architecture, river, boats, and human ritual are bound into one breathing organism. Working with Ganga -jal as both medium and meaning, his layered ghats turn Varanasi into a site where faith, time, and everyday life flow through the same visual bloodstream.

Ranjit Kurmi’s abstraction moves like a charged weather system; bands of colour collide, fracture, and recombine, producing a painterly turbulence that feels both lyrical and volatile. His canvases hold the tension between structure and release, where pigment behaves like memory in motion rather than fixed form.

Chetan Katigar builds a lush narrative theatre where myth, music, flora, and human presence fold into a single ornamental rhythm, giving devotional storytelling the pulse of contemporary colour. His figurative worlds feel ceremonial yet intimate, where Krishna, musicians, animals, and forest become a single breathing choreography rather than separate motifs.

Pradip Kumar Sau constructs a metaphysical theatre in blue, where floating heads, ascending triangles amidst celestial bodies, and drifting bodies map the human mind’s restless pull between gravity and transcendence. His paintings stage the psyche as a dream-space in which the finite body strains toward an infinite, luminous elsewhere.

Dinesh Parmar composes memory like a palimpsest; layered fields of colour, fractured faces, and symbolic geometry drifting through one another as if time itself were being slowly repainted. His mixed-media surfaces feel archaeological, where emotion, history, and private myth surface and dissolve in the same breath.

This show was inaugurated on 16th January 2026 by Honourable Guests Mr. Milind Pai(Principal Architect), Mr. Sameer Bhambere(Founder of Lemon Yellow LLP)

—–Sushma Sabnis (Art Curator & Writer)

JMD Art Gallery Presents “Breath Of The Infinite” A Group Exhibition Of Paintings By 5 Contemporary Renowned Artists

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Art Exhibition

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

From: 23rd to 29th December 2025

“CHITTADARSHANI”

Art Exhibition by contemporary artist Dhiraj Hadole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.dhirajhadole.com

Holding Space: Dhiraj Hadole’s Geometry

Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.

His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.

At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.

The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.

Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.

What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.

These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  :Director – Magnifique Décor and Mangal Movements Mumbai

—-Sushma Sabnis Mumbai (December 2025)

https://www.youtube.com/shorts/zrHgAgREL1k

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

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Art Exhibition

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

From: 23rd to 29th December 2025

“CHITTADARSHANI”

Art Exhibition by contemporary artist Dhiraj Hadole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.dhirajhadole.com

Holding Space: Dhiraj Hadole’s Geometry

Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.

His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.

At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.

The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.

Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.

What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.

These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  :Director – Magnifique Décor and Mangal Movements Mumbai

—-Sushma Sabnis Mumbai (December 2025)

https://www.youtube.com/shorts/zrHgAgREL1k

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

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Art Exhibition

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

From: 23rd to 29th December 2025

“CHITTADARSHANI”

An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Dhiraj Hadole 

Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.

His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.

Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.

These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.

Pravin Waghmare

Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.

Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.

Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth. 

Swapnil Sangole

Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.

His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.

Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  : Director – Magnifique Décor and Mangal Movements Mumbai

https://www.youtube.com/shorts/CdOI9KaplkQ

 

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

 

 

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Art Exhibition

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

From: 23rd to 29th December 2025

“CHITTADARSHANI”

An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Dhiraj Hadole 

Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.

His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.

Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.

These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.

Pravin Waghmare

Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.

Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.

Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth. 

Swapnil Sangole

Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.

His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.

Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  : Director – Magnifique Décor and Mangal Movements Mumbai

https://www.youtube.com/shorts/CdOI9KaplkQ

 

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

 

 

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Art Exhibition

“Manthan” A Solo Exhibition By U.S.–Based Artist Anisha Sanghani, Opened At Kamalnayan Bajaj Art Gallery

Manthan: Let the Churn Begin Within You”, a solo show by U.S.–based artist and educator Anisha Sanghani at the Kamalnayan Bajaj Art Gallery, Nariman Point (December 1–6, 2025), is a visceral meditation on beauty, grief, and ecological crisis. Here, oceanic life and ancient mythology collide with the overwhelming weight of human excess, pulling viewers into a quiet but urgent reckoning.

Drawing on her background in fine arts, textiles, and graphic design, Sanghani reimagines the myth of Samudra Manthan as a contemporary environmental fable. In this retelling, the churning of the cosmic ocean no longer reveals divine treasures—it drags to the surface the refuse of modern life: plastic, poison, and unpayable debt to the natural world.

Her mixed-media canvases thrum with this tension between devotion and desecration. In The New Manthan, a lone sea turtle navigates waters swirling with serpents, sea creatures, and surreal mountains of plastic waste. In Wrath, an enraged goddess erupts from the depths, embodying the fury of deities witnessing the oceans they once guarded now defiled and suffocating.

Sanghani’s lush, layered technique draws viewers in with seductive beauty before confronting them with what lies underneath. That confrontation is rooted in reality: in a series of intense personal experiments, she submerged herself in water with her face wrapped in plastic, attempting to feel—however briefly—the suffocation endured by marine animals. “I became their voice,” she says. The image is unforgettable: a human tasting the terror we impose on an entire underwater world.

“Art cannot clean the oceans,” she reminds us, “but it can remind us of what they mean to us.”

Manthan becomes that reminder—a mirror held up to our habits, our convenience, and our capacity for denial. It asks: What do we take from the ocean? What do we return? And what will rise next if we continue to look away?

Sanghani invites every visitor into this inner churning—a shift toward awareness, responsibility, and renewal.

The exhibition was inaugurated on December 1, 2025 by distinguished guests including Ms. Nidhi Choudhari, IAS, Director & Artist, National Gallery of Modern Art; Sameer Balvally and Shilpa Jain Balvally, founders of Studio Osmosis; Ronak Sutaria, CEO, Respirer Living Sciences; Rishiraj Sethi, Director, Aura Art Development Pvt Ltd and co-founder, Aura Art; Dilip Ranade, eminent artist and former Senior Curator, CSMVS; and Prakash Bal Joshi, acclaimed artist and author.

Bollywood director Harshavardhan Kulkarni, Sony marketing strategist Parinda Singh, and music director Khamosh Shah were also in attendance.

Photographs by Ajay Natke and Sharon Dev Pimento

 

“Manthan” A Solo Exhibition By U.S.–Based Artist Anisha Sanghani, Opened At Kamalnayan Bajaj Art Gallery

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Art Exhibition

ANISOTROPIC An Exhibition Of Paintings By 3 Contemporary Well-Known Artists In Jehangir Art Gallery

From: 19th to 25th August 2025

“ANISOTROPIC”

An Exhibition of Paintings by 3 contemporary well-known artists –  Boddeti Suryanarayana, Raki Rao, Diana.

VENUE:

Jehangir Art Gallery

161-B, M.G. Road, Kala Ghoda,

Mumbai – 400 001

Timing: 11am to 7pm

Contact: 9962293401

A  group show that depicts non uniformity in unity .

various styles , emotions and ideologies come together  as one narrative !

Anisotropic, where non-uniformity meets uniformity, a heartfelt event group show of 3 artists from Andhra Pradesh. Anisotropic is more than   just an art exhibition — it’s a beautiful reunion of us !

This show was inaugurated on 19th August 2025 by Honorable Guests – Mr. Nitin Jadia – Art Collector,  Mr. Sanjay Nikam – Art Curator, Mr. Gopal Pardeshi – well-known artist, Mr. Prasad Balan –  Arreywaah.com – Director, Founder among others. This show will continue till 25th August 202

Mr. Ajoykant Ruia(Director – Allstate Group) also visited this exhibition.

Boddeti Suryanarayana

Boddeti Suryanarayana is a retired Drawing Teacher. He has been producing wonderful paintings and works of Art. He is well-known all over India and also abroad. He has won several awards both at state and national level. The style of his art is realistic and deals with the lives of the Primitive Tribal Groups.

Boddeti Suryanarayana goes back to his boyhood days when he spent his days among the PTGs, as his elder brother was working in the Girijan Co-operative Corporation, Visakhapatnam District located in Paderu, Chinthapalli and Aruku Valley. His keen observation of their lives became the subject of his art of painting. He is a unique painter because nobody has touched this subject so far. His experiences of his early days with the PTGs brought him recognition at the national level and resulted in getting awards and name and fame.

The tribal communities in the Visakha Agency have a rich history, marked by unique cultural practices and distinct social structures. These groups, including the Bagata, Kotiya, Konda Dora, and others, have traditionally inhabited the hilly and forest regions of the Eastern Ghats.

The Khond, Porja and Gadaba are identified as “Primitive Tribal Groups” (PTGs). They depend on Podu cultivation, forest produce collection, carpentry and black smithing for their livelihood.

Mr.Boddeti Suryanarayana mingled with these Primitive Tribal Groups to study their life style. His paintings emerge out of his realistic study of their day-to-day life.

Raki Rao

RAKI, or Rama Krishna Donga, a Chennai-based artist from Palakol, Andhra Pradesh, will showcase his Fusion Art at the ANISOTROPIC group exhibition at Jehangir Art Gallery, Mumbai, from August 19th to 25th, 2025.

Self-taught but mentored by stalwarts like Ankaiah and Sri Rajavelu, RAKI has 40 years of experience, including assisting a well-known South Indian artist and associating with prominent groups like Guntur Pandavas and Kalapeetham of Andhra Pradesh. His artistic career, which began in 1985, later evolved to include modern abstract styles, blending cubism with traditional themes. This unique style, characterized by a symbiosis of modern techniques and a traditional foundation, is referred to as Fusion Art.

RAKI holds a Diploma in Painting from SDKK College of Fine Art, Chennai. He has served as Vice President of the Tamil Nadu Arts and Crafts Improvement Association (2017-2019) and Cultural Secretary for Andhra Pradesh & Telangana State at Sri Dharshini Group of Institutions (2018-2019). He also founded the VAPA-BAPU Art Association. RAKI has earned 16 awards in major South Indian competitions and participated in over 35 exhibitions.

Diana

Ms. DIANA , from Andhra Pradesh, is a passionate Educator, writer, art therapist, and  folk artist with 24 years of experience in the field of Art.  She is a multidisciplinary artist  who  practices a unique Art form called the Deccani scrolls  which is quintessential to Andhra and Telangana state , where she grew up !  Her vibrant works—encompassing textiles, murals, natural stone and clay colors , and community-based installations—reclaim indigenous and matriarchal histories.

She is a versatile artist who has done immersive residencies on batik from Indonesia  , natural dying from Mysore  and ceramics from chennai .Through intricate clay vessels, vibrant batik tapestries, and plant-based dyes, she explores themes of cultural motifs  and environmental connection. Additionally, she has completed an art therapy course and conducts successful therapy sessions for individuals and corporate clients who need help with depression and anxiety .

Currently, Diana works at KIDS Central High Cambridge International School, where she is deeply committed to fostering community connections through art.

 

ANISOTROPIC An Exhibition Of Paintings By 3 Contemporary Well-Known Artists In Jehangir Art Gallery

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Art Exhibition

FRAGMENTS OF SILENCE An Art Exhibition By 6 Contemporary Renowned Artists In Jehangir Art Gallery

From: 12th to 18th August 2025

“FRAGMENTS OF SILENCE”

An Art Exhibition by 6 contemporary renowned artists – Virendra Chopde, Vinay Bagde, Abhishek Chourasiya, Vinod Chachere, Siddharth Bettajewargi, Umesh Nayak

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road,

Kala Ghoda, Mumbai 400001

Contact: +91 8149723564 / +91 7276409841

Timing: 11am to 7pm

This show was inaugurated on 12th August 2025 by Honorable Guests –

Dr. Kishor Ingale, kalasanchalak, kalasanchalanalay, Maharashtra Rajya.

 Milind Limbekar,Renowned artist, critic, and art collector.

Maheshchandra Rajgire, Eminent artist,

 Chandrakant Channe, founder, Basoli group.

Prof.Vishawnath Sable, Dean, Govt. College of Art and Design, Nagpur.

FRAGMENTS OF SILENCE

The aesthetics of fragments and silence occupy a potent conceptual space in today’s contemporary visual art. fragments operate as aesthetics and conceptual device; they reflect what we perceive and execute. whereas silence here is a space between what is said and what remains unspoken.

Artist today is practicing in various medium and material a group of such artists has joined hands together where they stand common conceptually but differs in the language and material. Each of them has their own poetics of fragments and space, yet they stand with a powerful narrative void and a space inviting spectator to enter the world of personal and collective history. Discussing on silence they call it a space not an emptiness, presence of the unseen silence which is muted by multiple layers of steel plates and arrested in the warmth of paper leaf in the shades of colour and the deliberate pauses between forms. it is not passive it resists withholds and listens.

The desire and capacity to move from the conscious to the mystical is constant and evident in this group’s explorations. Abhishek Chourasiya has straight dialogue between the tradition and modern consciousness he tries to understand the transformation of real and make belief he further clarifies that they both are so genuine that the creator the spectator and the unconcerned are engaged and realizes that it exists. this very existence is then related with his idioms of artwork and then continuum to exist in us. Siddharth Bettajewargi is the one who has distinctly used natural materials as the medium, viewing nature as his mother and prioritizing environmental concerns above all else. he creates and unleashes various form of human figures in the fallen leaf.

 

This transformation with the paper- mesh and fallen dry leaf is unique leaving behind interaction of speechless emotions characterized in flexible material. Umesh Chandra Nayak’s sculptures work convincingly challenge the formal nature of academic art, they are deeply personal yet universally resonant with exploration of memory, gender and cultural inheritance. The use of layered metal sheets in his sculptures is intended to symbolize different stages of human behavior, consciousness, and silence, evoking voices from stories that are otherwise inaccessible. It acts as vessels of absence, a carrier of silence. Sustaining each evolving phase of this self-awareness determines the individual contribution to humanity.

Vinod Chachere’s fragments in the work appears throughout the compositions not as ruins, but as carriers of memory. Vinod’s canvas becomes an excavation were meaning needs to be assembled attentively from scattered signs. The silence here is visual and quietness that emerges from muted palettes, minimal gestures, and restrained composition yet it is so conceptual. He believes Fragments and space do not diminish truth they deepen it and carries the viewer into an intimate dialogue. Vinay Bagade’s figures are narrative not through explicit storytelling but through gesture, posture and gaze inspired by lived experiences observation and fragmented memories rooted in traditional figurative techniques.

Vinay blends realism with beautification, often depicting static, emotionally distant figures, with decorative elements floating around as if they are residues of memory or psyche. Virendra Chopde displays his skill in portraying beautiful, elegant, simplified forms highlighted with his distinct style.

https://www.youtube.com/shorts/pVDWriDh0TQ

His paintings emphasize sensitivity of subject and strength of aesthetics, revealing interrelationship of nature and emotion. Chopde’s paintings are the celebratory interpretation of beauty, often featuring dynamic compositions that include flowers particularly “chafa” [Plumeria Flower] which reflect his affinity for nature. His depictions of men, women, flowers, leaf leaves a mark by flat joyous colours and elegant rhythmic lines.

MILIND LIMBEKAR

Artist, Art critic, Art collector

FRAGMENTS OF SILENCE An Art Exhibition By 6 Contemporary Renowned Artists In Jehangir Art Gallery

 

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Art Exhibition

MEDITATIVE ECHOES An Exhibition Of Paintings By Dinesh Kumar Parmar In Jehangir Art Gallery

12th to 18th August 2025

“Meditative Echoes”

An Exhibition of Paintings by

Dinesh Kumar Parmar

VENUE:

Jehangir Art Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 8830708819

Dinesh Kumar Parmar’s artistic oeuvre stands as a vivid visual meditation on inner states of being, spiritual transcendence, and the synesthetic experience of colour, rhythm, and emotional equilibrium. His recent series, as seen in the mixed-media works from Aura and Meditation, reveals a subtle and contemplative visual language where figuration and abstraction coalesce to communicate metaphysical stillness and emotional euphoria.

This show was inaugurated on 12th August 2025 by Honorable Guests Prof. Vishwanath Sable, Dean Govt. College of art and Design, Nagpur,  Nitin Jadia Art Collector, Rajendra Patil(Para) eminent artist, Sanjay Nikam Art Curator among others.

The central figure in meditative posture, rendered in earthy tones and textural overlays, becomes more than a subject—it becomes a metaphor for the eternal rhythm of existence and the serene cadence of spiritual awakening. Parmar’s art invites the viewer into a tranquil realm where silence is audible and time slows into reflection. His use of colour fields and organic textures evokes both natural patterns and inner emotional weather, turning each work into a portal of introspection.

The thematic continuities in his other paintings—such as the juxtaposition of a stag and bottled elements, or a female figure looking upwards to a red triangle—point towards dream logic and symbolic narration. These visual metaphors, grounded in tonal harmony and compositional finesse, suggest cycles of longing, observation, and silent transformation. There is a strong undercurrent of the feminine divine, spiritual ecology, and cosmic alignment running through his visual lexicon.

https://www.youtube.com/shorts/KwhFHBWJf-k

 

MEDITATIVE ECHOES An Exhibition Of Paintings By Dinesh Kumar Parmar In Jehangir Art Gallery

 

Categories
Art Exhibition

“Sacred Symphony of Nature” Solo Show of Paintings by Samar Ghosh in Jehangir Art Gallery

5th to 11th August 2025

“Sacred Symphony of Nature”

Solo Show of Paintings by renowned artist Samar Ghosh

VENUE:

Jehangir Art Gallery

161-B, M.G Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: 8252866675 / 8709797685

Samar Ghosh unveils ground breaking new collection.

An inspiring artist Samar Ghosh is said to unveil his highly anticipated new collection “Sacred Symphony Of Nature” at Jehangir Art Gallery, Kala Ghoda, Mumbai on 5th August 2025 this compelling series marks a significant evolution in Samar Ghosh’s artistic journey blending bold experimentation with the deep exploration of emotional journey.

This show was inaugurated on 5th August 2025 by Mrs.Nidhi Choudhari(IAS)National Gallery of Modern Art, Mrs.K.G.Menon Secretary of Jehangir Art Gallery & Mr.Haren Thakur Eminent artist in the presence of eminent artists of sir J.J.School of Art.

Drawing inspiration from nature, personal experience and social commentary. The collection encapsulates artist Samar distinctive ability to capture the poetic and metaphorical expression in nature which conveys a deep thought process likely to reflect some mix of sacred ecological balance for life.

Each peace in this collection represents a moment of interaction with thought provoking messages. The exhibition will feature 15 pieces’ canvases, as well as selection of smaller intimate line drawing works that delve into the artist’s signature exploration of different techniques.

Through the use of colours and form, I aim to invite viewers into an intimate space where they can reflect their own emotional journey.

The show is not just a series of paintings: – It’s an exploration of vulnerability and strength through the language of art.

“Sacred Symphony of Nature” marks a bold an exciting new chapter in Samar Ghosh’s career, cementing there place as one of the most innovative and thought provoking artist of this generation.

The Exhibition invite’s both long time art collectors and new viewers to immerse themselves in an artistic experience.

About Artist: –

Samar Ghosh is an acclaimed contemporary artist known for his distinctive approach to colour, texture and form. With 25 years of experience, his work has been featured in numerous exhibitions including in different galleries.

 

“Sacred Symphony of Nature” Solo Show of Paintings by Samar Ghosh in Jehangir Art Gallery