Born in 1940 in West Bengal, India, Anjolie Ela Menon was exposed to a diverse cultural milieu right from an early age. The multicultural home environment she received - being born to an Indo Armenian father and an English-Welsh mother, played a significant role in shaping her artistic sensibilities. She pursued her fine arts training first at the Sir J.J. College of Fine Arts, and then eventually at the Ecole Nationale des Beaux Art in Paris. This helped hone her skill and conceptual prowess further.  Her artistic style and sensibility is a captivating blend of realism and abstraction, wherein she often incorporates elements of mysticism and symbolism. Menon draws inspiration from a

Stand in front of a Prabhu Harsoor canvas, and you feel like you almost know it. The shapes look like letters. Then they look like faces, or gods, or something your grandmother might have said. You're at the edge of a language that hasn't happened yet, and you can't quite read it. Colour and brushwork come later. The first thing you notice is that strange, half-familiar feeling. Harsoor was born in 1962 and trained the traditional way. He earned a Diploma in Fine Arts from The Ideal Fine Arts Institute in Gulbarga, then a Master's in Visual Arts from Karnataka University in Hampi. What he did with that training is anything but textbook. His work lives in the gap between abstraction and

Ekta Singha's practice delivers upon personal interpretation of layers of experiences woven with paraphernalia of design motifs, forms and elements derived from miniature paintings. Her interest in Mughal, Persian and Rajput miniature paintings allow her to develop an independent language that makes its entrance in a pictorial surface that is layered with metaphorical and personal references. The miniature visual elements help her to create the desired pictorial

Madhvi Parekh is one of India’s most distinguished artists, having over five decades of art experience. Madhvi’s artworks depicts her childhood memories and fantasies. Her paintings are inspired by rural India, or Indian mythology but retains her own contemporary twist. Viewers witness several styles ranging from fauvism to divisionism to other similar neo-impressionism in her work. She even alludes to the religious Hindu mythological narratives while also attending to the folk-lores and folk-styles of art-making in India. While her artwork constantly explores the beauty of forms in nature, her art also extends itself to the idea of distorting them to see where that leads

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