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

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

Born in 1939 in Gujarat, Manu Parekh completed a Diploma in Drawing and Painting from the Sir J.J. School of Art, Mumbai, in 1962. Parekh’s early work explored the relationships between man and nature, as according to him, this was an energetic link that had to be celebrated. The artist also points out that, since then, contradictions have formed the basis of his artistic practice, no matter the subject or genre of his works. Banaras as a city came to play an integral role in Parekh’s work after his first visit there following his father’s death. This holy city of hope, of faith, of tourists offered him a vast number of contradictions in one location. Parekh also

Prabhu Harsoor (1962) has been reflecting on forms that transpire between the abstract and the figurative and acquire a visual language that is particularly his own. He has several visualisations from his memories that have given his works a special treatment in the realm of the distorted from that of the concrete. Some of his abstractions are similar to a linguistic script and are deliberately engaging with the idea of the formation of a language. Very evocative of the famous Indian modernist Artist Vasudeo S. Gaitonde's works, Harsoor explores alphabets as he visualises them and, in the process, engages with the idea of the artistic practice of script-making and the lingering