Review: Bound – Sculptural Lighting Series

Mangalore by Purva Kundaje 

'Bound’, forms an innovative sculptural lighting series which combines aesthetics and functionality in a unique manner. The brainchild of Purva Kundaje, an artist and architectural designer based in London, the works explore possibilities of material and object, and navigate notions of authorship, co-ownership and collaboration across geographies.

A graduate of the Royal College of Art, where she completed an MA in Design Products in 2021, Purva grounds her practice in narrative expression and sustainable material exploration. In the past, she has collaborated with craft-focused studios such as Rooshad Shroff and Sybarite, and has engaged extensively with women artisan collectives in India to integrate contemporary design languages with traditional craft methodologies. Her recent lighting project ‘Bound’ forges an unusual path – it begins as a sparse handstitched paper lamp, and then invites creative practitioners from varied fields such as poets, illustrators, textile artists, designers and others to participate as co-creators. 

The collaborative aspect of the project originated from a previously held workshop led by Blake Carlson-Joshua and Purva, where they aided and supported participants process and express emotions through making objects. 

Bound- Original Lamp form by Purva Kundaje

The experience revealed the range and depth of creative expression possible even from non-designers and artists. This subsequently inspired her to create a blank canvas, a minimal object which could act as a material and artefact to memorialise multiple collaborations and narratives.

“Each lamp begins as a handstitched, illuminated object made from an experimental paper blend of recycled newspaper and plasterboard waste. Developed through sustainable design research in partnership with Blake Carlson-Joshua, the material is both fragile and enduring—a luminous surface that invites response,” explains Purva. 

The lighting series is in a sense an archive, which continues to evolve as various practitioners share and embed their stories, their cultural heritage, and memories onto the surface of the paper. Text, images and materials coalesce and assimilate on the shell of each lamp, bringing alive the plurality of the project, and the varied aesthetics and visual vocabulary of each piece. 

Threshold by Purva Kundaje 

Among the works, ‘Mangalore’ references the architectural detailing and silhouettes from Purva’s hometown in South India - fragments of memories that are abstracted and represented, while ‘Threshold’ also by her, navigates structure and spatial harmony while celebrating cultural memories and lineage.

All other pieces have been created in collaboration with other creators. – ‘The Kite Flyers’ by Yuwei Cong captures the fluidity of

Soft Silence by Teng Xue

 movement inspired by the action of a kite caught in the wind. ‘Utopía de una mujer que está cansada’ by Chuxi Zhou in red ink is a memoir which resembles a street map that laments loss and longing imprinted within the urban fabric. 

“The Adventures of an Ugly Cat” by Boer Zhu is a whimsical piece addressed to her cat, and combines painting and poetry, obscuring the boundaries between text and visual art. ‘Soft Silence’ by Teng Xue appears to be a labyrinth, reminiscent of the chaos, the maze and the ambiguity of life, while ‘The Flow Within’ by Elisa Nalon also navigates the unpredictability of life. 

 

The Adventures of an Ugly Cat by Boer Zhu 

Every work reflects the creator’s individuality, and gives a voice to their unique stories, rooted in personal histories, identity and memories, and which emerge from distinct socio-cultural and political milieu. The collaborative nature of the project collates diverse narratives from various parts of the world, and also offers a platform to various artistic voices to be seen and heard.

In contemporary times, where AI and technology dominate, an initiative such as this which lays emphasis on sustainable design, the tactility of the surface, and employs the materiality of the paper through acts of writing, stitching or painting creates a corporeal and sensory engagement.

Purva’s interdisciplinary practice and her artistic sensibilities encompasses spatial installations, furniture design, and collaborative storytelling. Through this project, she thoughtfully investigates and engages with the emotional and cultural dimensions of form, utilizing reclaimed materials and light as mediums for evoking memory, authorship, and facilitating transformation.

‘Bound’ has been previously exhibited at Material Matters 2023, part of the London Design Festival, and Conceptual Erasure (Fulham, 2025), and is an ongoing project.

- By Nalini S Malaviya

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Also read,

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• Art News: Venkatappa Art Gallery: Renovation
• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Art News: Whispers Between Worlds

Whispers Between Worlds: iArt Gallery’s New Exhibition Invites Viewers into the Subtle 

This September, iArt Gallery in Bengaluru presents Whispers Between Worlds (September 12 – October 13, 2025), a month-long group exhibition that gently turns our attention away from the rush of the everyday and towards the subtle spaces that often go unnoticed. 

Narayan Lakshman

Showcasing the evocative practices of Narayan Lakshman, Anjali Rajkumar, and Mohit Naik, the exhibition explores the unseen, the in-between, and the almost forgotten. In a cultural moment increasingly defined by urgency, rupture, and excess, Whispers Between Worlds asks viewers to slow down. It offers a space where art does not demand but instead invites; where works do not declare, but whisper. 

Located in the heart of Bengaluru on Lavelle Road, iArt is committed to fostering meaningful artistic engagement. Since its inception, iArt has championed Indian contemporary artists whose works are alive with their storytelling, rich textures and innovative techniques.

Anjali Rajkumar

The current exhibition is conceived as a threshold — a porous, liminal space where memory and material, body and landscape, tradition and transition intersect. Each of the participating artists approaches this idea through their own visual language. 

Narayan Lakshman’s fragile material interventions explore the persistence of memory and the quiet erosion of time. Anjali Rajkumar layers form and texture in ways that evoke ancestral rhythms while speaking to identities that shift and adapt. Mohit Naik uses meditative gestures to construct local landscapes of reflection, asking viewers to consider the everyday as a site of transformation. 

Though their practices are distinct, the three are united in their attentiveness — to the subtle, to the in-between, to the things that resist easy articulation. What gives the exhibition its particular resonance is the way it lingers in the spaces between certainty and ambiguity. Instead of offering answers, the works create atmospheres — moments where viewers are invited to dwell in stillness, to sense rather than to solve. 

Mohit Naik

The show positions itself not as a resolution but as an unfolding, a reminder that some experiences exist only in the realm of suggestion and echo. 

Exhibition Dates: September 12 – October 13, 2025 

Venue: iArt Gallery, Lavelle Road, Bengaluru 

Artists: Narayan Lakshman | Anjali Rajkumar | Mohit Naik 

With Whispers Between Worlds, iArt Gallery offers its visitors not just an exhibition, but an invitation — to pause, to reflect, and to rediscover the power of the quiet. 

For more information Email: contact@iartgallery.in, Phone: +91 9900600473

Connect on https://www.instagram.com/iartgalleria/

For interviews, profiles, sponsored posts and to contribute articles, contact artsceneinfo@gmail.com

Also read,

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• Art News: Venkatappa Art Gallery: Renovation
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• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Review: Emotional Constructs at Play

Twinkle's series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance.

Twinkle's recent body of work is inspired by Navarasa, an ancient philosophical concept originating from Bharata Muni’s Natyashastra, which forms an integral element of Indian aesthetics and artistic expression. Her series of portraits centers around the 'Rasa' theory and explores the range and depth of human emotion - the duality and complexity of situations and responses inherent in each moment of existence.

 Joy Unfolded - (Hasya Rasa)

Twinkle recently completed her master’s in fine arts from Middlesbrough, UK. Prior to that she completed her master’s in visual arts from Agra, India and studied graphic printing techniques such as etching and lithography at Bharat Bhawan, Bhopal before moving to UK.

While in India, she was eager to push the boundaries of conventional artmaking further, and began experimenting with various materials and media, in conjunction with printmaking techniques. She found tea water stains on paper intriguing; the multiple layers added physical and figurative depth to her subjects. The resultant textures and the use of an organic medium lend credence to her practice which has a strong emphasis on sustainability and eco consciousness.

The use of tea as a ‘material’ in the artmaking forms a noteworthy subtext with its colonial association, alluding to the cross-cultural exchange and historical context, especially since this new series took shape after Twinkle’s relocation to UK. The entire process of staining the paper and its outcome also act as a metaphor for life’s journey, and its travails. The blemishes and scars imprinted on faces of people, imparts character and individuality to their persona.

The multicultural environment in the UK has instinctively influenced the diverse ethnicity of the portraits in Twinkle’s 'Navarasa' series. Drawn from her observations, the artworks are a celebration of the self, while acknowledging the gamut of human emotions experienced universally.

To add context to the Navarasa philosophy - according to the Indian art and culture tradition, the nine Rasas considered to be central to human emotion are Hasya (laughter), Shringara (love or beauty), Karuna (compassion), Raudra (anger), Vira (valour), Bhayanak (fear), Bibhatsa (disgust), Adbhuta (wonder) and Shanta (peace). These form the basis of expression and communication in Indian performative and visual arts, including modern and contemporary art. The rasas act as a framework for narration - the foundation of artistic and visual construct to connect and communicate with audiences. 

Twinkle locates these universal emotional constructs from Indian aesthetics and tradition amidst a larger global context. The series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance. The alterations in facial expressions and the effects are enhanced by strong lines and bold colours that augment the emotional states. Vibrant pinks to earthy browns convey the exuberance or sombreness of the protagonist. The portraits despite the varied multiethnic facial features and influences are relatable, and interlinked by the primeval portrayals of mood, an intrinsic human trait.

In this collection, the nine works comprise of mixed media pieces on wooden boards. A larger composite artwork consisting of portraits around the Hasya Rasa, in particular, acts as a response to, and a reflection of the other works. The current suite with its play of emotion and colour is anchored by a common thread, which has a distinct collective voice, an articulation of shared concerns and feelings. 

Through expressive form and emotive resonance, these works initiate an intimate space for reflection and empathy, accentuating the continuous import of classical 'Rasa' theory in shaping contemporary artistic discourse.

- By Nalini S Malaviya

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Also read,

• Curating Corporate Art Collections
• Art News: Venkatappa Art Gallery: Renovation
• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Curating Corporate Art Collections

- by Nalini S Malaviya, Art Consultant

Art by Sunil Mishra, Reference Image, pic by author 

Curating a corporate art collection for a discerning client is an exciting and challenging process. It involves much more than selecting paintings or sculptural installations to beautify the lobby or the boardroom walls. 

It’s a strategic opportunity to build a visual identity that aligns with brand values, fosters team morale, and influences cultural dialogue beyond the workplace.

Having curated corporate art collections over the years, it has been a truly enriching process for me.

Corporate art initiatives, whether building an art collection or supporting a local art project offer a unique opportunity to make a difference and create occasions for public engagement. There have been instances, where I have also organized and conducted panel discussions and walkthroughs for employees and visitors as an adjunct activity to the art collecting process, and which I found have deepened audience engagement substantially.

Why should corporates invest in art?

Rendered Image for Reference

As I’ve written earlier in The Fine Art of Collecting, collecting art is no longer just about financial investment—it’s about intention and creating an identity.

• A well-curated corporate collection while contributing to the overall decor and environment, reflects the organization’s values and vision.
• Cultural positioning: It signals a company’s commitment to creativity and thought leadership.
• Brand storytelling: Art becomes a medium to communicate innovation, inclusivity, or local culture, or all three in equal measure.
• Internal engagement: Employees feel more motivated and enthused in an environment that values aesthetics and expression.

Supporting Artists and the Ecosystem

Corporate collections can play a pivotal role in nurturing artistic talent, especially local artists.

• Commissioning new work: Encourages experimentation and site-specific installations.
• Showcasing emerging voices: Offers visibility to emerging artists.
• Collaborative programming: Talks, walkthroughs, and workshops can activate the collection beyond static display.

This aligns with the ethos I’ve always championed for, which focuses on sparking dialogue around art; it is as important as the art itself and nurtures art appreciation.

Image for reference, pixabay

Curatorial Challenges

Curating for a corporate space comes with unique considerations:

• Balancing aesthetics and accessibility: The art must resonate with diverse audiences while remaining unoffensive. While one may prefer provocative art, in a corporate setting a neutral voice is generally desired.
• Navigating spatial constraints: Lobbies, corridors, and breakout zones each demand different approaches, placements and mediums.
• Ensuring longevity: It is imperative to factor in conservation, lighting, and rotation schedules which impact the life of an artwork.

Yet, these challenges are what make the process so rewarding. Each decision is an opportunity to educate, learn or engage further.

It is fortunate that a growing number of corporates are looking at art for their premises, not just for the sake of it, but also because they are passionate about it, and are now looking at diverse art forms, media and styles. Many actively try to overcome financial constraints and budgets, after all, let’s face it, investing in art requires intention and effort.

In India too, we’re seeing a growing interest in this space, with more companies recognizing the long-term value of art as both asset and advocacy.

Curating a corporate art collection is a dynamic, layered process—one that blends aesthetics with strategy, and passion with purpose. Each collection requires thought so that the archive grows along with the organization, and remains relevant over time.

Do reach out if you would like to initiate or support an art project, or wish to start an art collection. 

Email: artsceneinfo@gmail.com

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Also read,

• Art News: Venkatappa Art Gallery: Renovation

• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
  
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Shalimar le clown book cover

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Delhi-based contemporary artist Mukesh Sharma is making headlines with his artwork which has been featured on the cover of the newly released French edition of Shalimar le clown - Salman Rushdie’s celebrated novel, which was first published in 2005.

Sharma reveals that author Rushdie and French publisher Antoine Gallimard came across the painting on his Instagram page. He elaborates, “Salman Rushdie took a liking to it and asked his publishing house to reach out to me.” After several conversations and review of many other paintings as well, their team felt this work was best suited for the cover of the novel.

Mukesh Sharma is a painter, printmaker, and installation artist from Alwar, Rajasthan. He holds an MFA degree in Printmaking from MS University in Baroda, and is known for expressing urban complexities, with imagery inspired by Rajasthani miniature paintings, frescos and block-printing of Sanganer. His work often explores the stresses between human and environmental relationships, while navigating intersecting concerns - the isolating effects of social media, the excessive use of technology and a capitalist culture.

Mukesh Sharma

Sharma integrates ready-made materials, including e-waste such as parts of scrapped keyboards into his work to distill complex ideas into accessible visual narratives. His process forms a critique of consumerism while exploring technology’s influence on contemporary life, creating compelling narratives.

Revitalising Memory, 2018, acrylic on canvas, which is now on the book cover, blends keyboard imagery with 'myth, memory, and identity'. Drawing from Indian miniatures and Panchatantra tales, it reflects on technology’s role and the blurred lines between control and manipulation. Sharma explains that, through this fusion, he critiques scenarios where the boundaries blur, and where it’s difficult to gauge and differentiate between the manipulator or the puppeteer and the puppet. 

The 2005 novel Shalimar le clown set in Kashmir and Los Angelos spans continents and explores themes of themes of love, revenge, and betrayal amidst political and cultural differences and unrest. A richly woven story of personal and political transformation, the chronicle navigates identity and ideology, while tracing lasting impacts of violence. 

Shalimar le clown continues to enthrall readers, and Sharma’s artwork on the cover of the French folio is bound to attract new audiences with its visual intrigue.

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

To contribute articles, please get in touch at artsceneinfo@gmail.com

Also read,

• Art News: Venkatappa Art Gallery: Renovation

• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art