4 Jun 2021

Street Art Celebrates Corona Warriors

Instead of imaginary faces, Hilldaari, a project supported by Nestlé India in collaboration with Delhi based artist Achintya and the Nainital Municipal council paints the real heroes behind the health and safety of the city. The project highlights the beauty of artistic expression in bringing awareness and change in social behaviour.


Street Art Celebrates Corona Warriors, Project Hilldaari, Art Scene India
Achintya Malviya, artist who made the 6 wall portraits
HILLDAARI is an initiative developing inclusive, contextualised and resilient models for solid and plastic waste management, in various tourist cities of the country. It is currently being implemented in Mussoorie, Nainital, Dalhousie, Ponda, Mahabaleshwar and Munnar by Stree Mukti Sanghatana, along with Recity Network Private Limited as the technical partner. This initiative has facilitated the diversion of 4668 metric tons of waste from landfills and is continuously working towards professionalizing 220 waste collectors and informal waste pickers through a multi-collaborative approach with municipal councils, citizens, contractors, waste workers and influencers.

In Nainital, the team identified 6 waste workers from lake cleaner, waste collector, informal waste picker and waste collection driver to provide them with much-deserved recognition for their contribution during the pandemic. The life-sized portraits, apart from adding beauty to the lake city also act as a reminder to the people in the area to do their bit, to not litter and respect the waste worker force.
Street Art Celebrates Corona Warriors, Project Hilldaari, Art Scene India
Artist Arun Sharma and Achintya Malviya behind their wall artwork on 3R of waste managment 
Artist and muralist, Achintya Malviya elaborates, “Making the portraits of waste workers was in itself a unique idea, to begin with. We generally find portraits of political figures, freedom fighters or someone famous, painted on the walls. But to paint a garbage truck driver, a waste picker, a door-to-door waste collector was an act of acknowledgement from our side”

Meha Lahiri, Co-founder, Recity Network explains, “In one of our initial interactions on the ground, Krishna Ji, a waste worker had beamingly remarked, "Koodey waaley toh aap ho, hum toh Safai waaley hai (You are the producers of waste. We are ambassadors of cleanliness)". 6 wall portraits across Nainital are an effort to acknowledge the same, and celebrate waste workers' contribution to the cities. In the COVID crisis, we are capacity building citizens to segregate their domestic biomedical waste like masks and gloves, and wrap it in paper before disposing of, as this waste can harm the waste workers. We have also ensured that waste workers receive vaccination, and are trained in COVID related SOPs, and are celebrated as COVID heroes. Krishna Ji's confident assertion has stayed with all of us and has given us a direction for the project.”
Street Art Celebrates Corona Warriors, Project Hilldaari, Art Scene India
portrait work under progress
In addition to the art component, which gives a face to waste workers, who have been out on the streets through the pandemic, Hilldaari also initiated a “No Contact IEC” program. The programme has reached out to over 30,000 residents across Mussoorie, Nainital, Dalhousie, Mahabaleshwar and Ponda through various digital mediums like WhatsApp, public announcements, Media coverage, tele-calling and radio shows. As part of this project, Waste Intelligence Technology has also been developed for monitoring end-to-end waste management to minimise human contact.

Bio-medical waste and its disposal has emerged as a significant health hazard during the pandemic. The awareness campaigns focus on ideal waste management behaviours such as- provide dignity to waste workers, no-littering, Source Segregation and Waste as a resource. At the same time, there are efforts to create a sense of belonging among the citizens towards their cities by visible change interventions and various place-making initiatives.

Some of the major initiatives in these areas include - Wall Arts around GVP areas (garbage vulnerable points), Wall portraits of waste workers, Art installations to show waste as a resource, and Installing upcycled infrastructure at public places like dust bins, pavements made up of upcycled plastics and playscape using upcycled materials.

All images provided by Recity Network

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27 Mar 2021

#arttrackwithnalini: Contextualizing Digital Art, Algorithms and NFTs

 

#arttrackwithnalini - 01 on 31st March 2021, 6 pm


Contextualizing Digital Art, Algorithms and NFTs

Speakers: Baiju Parthan, Harshit Agrawal and Shovin Bhattacharjee

Moderator: Nalini S Malaviya

Join us here WICCI Arts Leadership Council | Facebook on 31st March, 6 pm IST



#arttrackwithnalini - 01, Contextualizing Digital Art, Algorithms and NFTs
 

In the current context, it is important to have a conversation on the relevance and scope of digital art, algorithms and NFTs in the Indian and global scenario. This panel attempts to locate digital art production, the import, originality and criticality of the image with regards to current trends, technological interventions, digital ownership and environmental implications of blockchain technology, if any.

Join me as I kick start #arttrackwithnalini, a series of conversations, online for now and hopefully in person soon, with experts in the field.

Recently a digital piece, by Beeple sold as an NFT for 69 million dollars at Christie’s. This has created quite a buzz, understandably. It is after all the 3rd highest priced work by a living artist.

But what does it mean for the art world, especially in the Indian context.

So, let's talk about the relevance and scope of digital art, algorithms and NFTs with Baiju Parthan, Harshit Agrawal and Shovin Bhattacharjee, All 3 are extremely well known, inter-media artists who have been in the digital space and technology art for years, and who understand blockchain, cryptoart, artificial Intelligence and NFTs.

Some of the points we hope to cover are with regards to digital art production, what does originality and criticality of the image imply today, the role of technology then in the art making and distribution, what does digital ownership mean and are there any environmental implications of blockchain technology.

Let’s just start this conversation and see how much ground we can cover in this first session.

Join us here WICCI Arts Leadership Council | Facebook on 31st March, 6 pm IST

                                



Meet our panel

Speakers

Baiju Parthan on #arttrackwithnalini - 01, Contextualizing Digital Art, Algorithms and NFTs
Baiju Parthan is a Mumbai based inter-media artist, working simultaneously with traditional media of painting as well as new media and digital technology based installation art. He is one of the early exponents of new media art and mediatic-realism in the Indian contemporary art scene. His work explores worldviews and ideologies that are in collision and the resulting ontological fallout felt and lived by all of us.

His work in the digital realm consists mainly of explorations into the mutating boundary where the virtual and real bleed into each other. Through a range of computer generated virtual objects presented as video installations, large scale prints on metallic surfaces, and 3D lenticular prints, Parthan manages to present a critique on high technology and its impact on our life and experience of reality.

He has participated in several landmark exhibitions including, New Interventions in Indian Art, China Art Museum Shanghai & Gaungdong Museum of Art, Guangzhou, China 2015, INDIA!, Centro Cultural Banco do Brasil (CCBB), Rio de Janeiro 2012, Indian Contemporary, Benedictine Museum, Fecamp, France, 2009, Beyond Globalization, Beijing, 2009, 101 Contemporary, Tokyo, 2008, International Live Art Festival Glasgow 2004, Kapital and Karma, Kunsthalle Wien, Austria 2002, and has shown at several important art fairs.

 

Harshit Agrawal on #arttrackwithnalini - 01, Contextualizing Digital Art, Algorithms and NFTs
Harshit Agrawal is an artist working with artificial intelligence and emerging technologies. He is India’s first artificial intelligence artist, being the only Indian artist among 7 international AI art pioneers in the world’s first A.I art show in a contemporary gallery (Gradient Descent at Nature Morte). In his practice, he uses machines and algorithms and often creates them as an essential part of his art process, embracing becoming the cyborg artist. Harshit’s work is part of the permanent exhibition at the largest computer science museum in the world, HNF museum in Germany. He has exhibited work at other premier museums, galleries and art festivals around the world, like the Ars Electronica Festival (Austria), Asia Culture Center (Gwangju Korea), CADAF Contemporary and Digital Art Fair, HIRESOLUTION Exhibition for New Year’s Ball Drop at Times Square (USA), Museum of Tomorrow (Brazil), among others. He has given several talks at the subject of A.I and Art, including 3 TEDx talks. His work has also been extensively covered in international media, including BBC, New York Times, Artnet, Artsy, STIR World. Harshit has carried out residencies at the Museum of Tomorrow (Brazil), Art Center Nabi (Korea) and X-Lab (Japan). He graduated from the MIT Media Lab and IIT Guwahati. Along with his art practice, he has authored several publications and patents about his work at the intersection of human computer interaction and creative expression. He currently lives and works out of Bangalore, India.
 
 

Shovin Bhattacharjee on #arttrackwithnalini - 01, Contextualizing Digital Art, Algorithms and NFTs
Shovin Bhattacharjee is an artist working with painting, sculpture, digital art, new media art and public art installation. A pioneering digital artist, he is India’s first artist entering into an NFT art auction.

Born and brought up in Shillong (Meghalaya), he received his BFA and MFA degree in fine arts from Assam University, Silchar, and a diploma in conservation techniques from NRLC, Lucknow in 2002. Shovin has held seven solo shows with the Indian Cultural Centre Seoul, South Korea, in collaboration with Indian Art Museum at Seoul, South Korea.

He has also participated in National and International Exhibitions like “Spirit of India” Embassy of India, Lisbon in association with Art Catto Gallery at Conrad Hotel, Algrave, Portugal; 1st Digital Art Biennial, Brazil; Guanlan International print Biennial, China, India-Korea Art Exchange exhibition at Korean Cultural Center, New Delhi; “HANJI FESTIVAL” exhibition at Korean Cultural Center, New Delhi. 13th Asian Art Biennale organized by The Bangladesh Shilpa kala Academy, Dhaka, Bangladesh; 6th 7th and 8th International print Biennale organized by Bharat Bhavan, Bhopal; “Icon of Asia” International show at EM Art Gallery, Beijing, China; International print Biennale, Finland; Harmony Art shows organized by Harmony Art Foundation, Mumbai; All India Digital Art Exhibition, A.I.F.A.C.S., New Delhi; etc.

Shovin’s work is part of the permanent collection at the Indian Art Museum, Seoul, South Korea, CICA museum, South Korea; Lalit kala Akademi, New Delhi; National Gallery of Modern Art, New Delhi; Manipur Museum, Meghalaya State museum. Indian Cultural Centre, Seoul, South Korea; Art Catto, Portugal; He currently lives and works in New Delhi, India.


Moderator

Nalini Malaviya on #arttrackwithnalini - 01, Contextualizing Digital Art, Algorithms and NFTs
Nalini S Malaviya is a Bangalore based art consultant, curator and writer. She curates contemporary art exhibitions, working with visual artists from across the country and offers curatorial and advisory services to individuals and corporate. She has been writing for the media since 2003, and has been an art columnist for Bangalore Mirror and has contributed to Financial Times (Delhi and Bangalore) and Times of India, Deccan Herald, several art magazines and artist books. She has written and presented papers for the Karnataka Lalithkala Academy Journal and several of her prefatory essays have been published as part of artist catalogues.

Some of her curatorial projects include ‘Convergence,’ an online exhibition as part of an art and media collective, ‘Bend’ an exhibition of sculptures, ‘Parallax of Visual Memories’, ‘Reimagining: (Un)Reality and Space’, 'Irreverent Gene' and ‘Polynomials of Relevance’.

Nalini is the Founder/Publisher of 'Art Scene India' www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles on art, and is a resource center for artists and connoisseurs. Currently, she has a fortnightly art column for Sunday Herald, and is Member, Advisory Committee, National Gallery of Modern Art, Bangalore. She is also the Karnataka President for Arts Leadership Council, Women’s Indian Chamber of Commerce and Industry.


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20 Jan 2021

apexart International Open Call 2021-22


apexart International Open Call 2021-22, Art Scene India
An opening reception audience enjoying apexart’s brochures at Beauty Salons and the Beast, an apexart International Open Call exhibition in Dar Es Salaam, Tanzania, 2015.


Apply to our International Open Call Feb. 1 - Mar. 1, 2021

Accepting proposals: February 1 - March 1, 2021


apexart will accept proposals for its International Open Call from February 1 - March 1, 2021. Four winning proposals will become apexart exhibitions presented in their selected locations around the world as part of our 2021-22 exhibition season. Curators, artists, writers, and creative individuals, regardless of location or past experience, are invited to submit a proposal online.

The submission process

Proposals of up to 500 words should describe focused, idea-driven, original group exhibitions, and the country and city in which they are to take place. No biographical information, CVs, links, or images will be accepted, and proposals must be submitted in English. Jurors rate anonymous submissions based on the idea only. See examples of winning proposals here.

The selection process

Rather than convene a 5-person NYC panel to review hundreds of ideas, apexart’s crowd-sourced voting system invites hundreds of international jurors to review proposals on their own schedule. The crowd-sourced jury is composed of more than 400 individuals from a wide variety of professional backgrounds and international locations—including students from 20 participating university classes—who will jury the proposals. Proposals are anonymous and randomized to make sure each submission receives the same consideration. apexart staff does not influence the results of the jury in any way.

The results

The four winning proposals will each receive an exhibition budget of up to $11,000; have an exhibition brochure printed and mailed to over six thousand international recipients; advertising in major and local outlets; and will be part of apexart’s 2021-2022 exhibition season. Working closely with the apexart team, curators will realize their original ideas into apexart exhibitions. Exhibition curators are challenged, encouraged, and required to work within the funding provided to transform their winning proposals into small, focused, noteworthy exhibitions. 

To submit an exhibition proposal, visit https://apexart.org/opencalls.html between February 1 and March 1, 2021.



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21 Sept 2020

apexart’s NYC Open Call Invites Exhibition Proposals in October

apexart’s NYC Open Call Invites Exhibition Proposals in October, Art Scene India

apexart’s NYC Open Call Invites Exhibition Proposals in October


apexart is accepting exhibition proposals for its NYC Open Call from October 1-31, 2020. The four winning proposals will become apexart exhibitions presented at apexart’s NYC space as part of its 2021-22 exhibition season. Curators, artists, writers, and creative individuals, regardless of experience level or location, are invited to submit a proposal online.

Four winning proposals will each receive an exhibition budget of up to $10,000, staff support, and be part of the next apexart exhibition season.

Submission Process

Proposals should describe focused, idea-driven, original group exhibitions. No biographical information, CVs, links, or images will be accepted. Submissions cannot exceed 500 words and must be submitted in English. Jurors rate proposals based on the idea and concept. See examples at https://apexart.org/opencallwinners.php

Selection Process

Rather than convene a small panel to review hundreds of ideas, apexart’s crowd-sourced voting system involves hundreds of jurors to review proposals. An international jury composed of 400+ individuals from a wide variety of professional backgrounds—including students at over a dozen international universities—will jury the proposals. Proposals are juried anonymously and randomized to make sure each submission receives the same consideration. apexart staff does not influence or affect the results of the jury in any way.

Results

The four highest-ranked proposals each receive an exhibition budget of up to $10,000 and complete production support. Working closely with the apexart team, curators will realize their original ideas into apexart exhibitions. Exhibition curators are expected, encouraged and challenged to work within the funding provided to transform their winning proposals into small, focused, noteworthy exhibitions.

To submit an exhibition proposal and learn more, visit apexart.org/opencalls.html between October 1-31, 2020.

23 Jul 2020

Art Scene India presents Convergence

Convergence, a collection of drawings, mixed media works & sculptures by Shanthamani Muddaiah, Shivani Aggarwal and Minal Damani, curated by Nalini S Malaviya starts July 24, 2020


Convergence a collection of drawings, mixed media works & sculptures  curated by Nalini S Malaviya   Shanthamani Muddaiah | Shivani Aggarwal | Minal Damani
The pandemic has disrupted the ‘regularity’ of our existence, where the new normal is a paradox, unrelated and at variance with memories of the past, disconnected from the present and a distant future. This interruption has necessitated a reconstruct and rethink of strategies, modes of functioning and a revaluation of what constitutes essential. The existing paranoia and other associated anxieties have brought to the fore several pertinent questions regarding factors responsible for calamities, unwarranted human interventions and indiscriminate actions that disregard ecological considerations. 

The hiatus, therefore, compounded by disquiet and turmoil, has compelled a deeper introspection of the human-nature coexistence and equilibrium, and of environmental, socio-economic and psychological sustainability issues, under transient and perpetual stress.

Amidst this, artists and art projects have pivoted to realign core practices to adopt meaningful human and community centric approaches. Modalities of engagement with the audience have also undergone perceptible repositioning with near total shift to digital platforms, and a predominance of artists collectives and community based projects. 

This curatorial endeavor embraces a collaborative model, an art and media collective, centered on the three artists’ core practices to relocate social and ecological realities on a democratic forum. The artworks and the online digital site, act as a resource, to articulate and respond to shifts in contemporary socio-cultural conditions. Art Scene India, a 14 year old blog, a digital publishing site for art information, in response to collective concerns and in view of the pandemic situation, now accommodates a conceptual and aesthetic shift to incorporate curatorial expression as part of its vision.

The democratic approach builds upon the artists’ practice that is deeply informed by environment and gender sensitivities, and social, political and geographical concerns – arenas that assume great criticality in the contemporary context. Shanthamani Muddaiah, Shivani Aggarwal and Minal Damani locate and realign their preoccupations, and present their recent works, much of which has been produced during the pandemic and is thus layered with current apprehensions, as a subtext to the primary narrative.

Convergence a collection of drawings, mixed media works & sculptures  curated by Nalini S Malaviya   Shanthamani Muddaiah | Shivani Aggarwal | Minal Damani

Shanthamani views the world around her through a prismatic lens, questioning issues that interplay between the individual and the society, the self and the planet. Her strong concerns about urbanization and its impact on ecology are reflected in her drawings and sculptural installations. Loss of agricultural land, and livelihoods, migration, commodification, and exploitation of human and natural resources, and capitalism as the dominant culture are some of the issues that she analyses and expresses through her large scale depictions. For this exhibition, in view of the online site for display, small format pre-existing sculptures are presented, which paraphrase fresh import in light of current contexts.

Shivani’s introspective stance negotiates the complex interrelationships between the external world and the self. She navigates the intricacies of linkages between the material and intangible elements, expressing the impact and the fragility of these associations. Her works map constructs around ethos, culture, gender and identity, deploying material as a gestural entity. Shivani’s visuals are embedded with symbolism, representing notions of self, while exploring emotional flux and confinements of space in response to the situational crises. Stitching and crochet allude to gender as a subtext, and aesthetics acts as a tool to construct the narrative. The sculptural nature of the works are markedly evident through use of multiple media primarily photography, painting and stitching/crochet.
 
Convergence a collection of drawings, mixed media works & sculptures  curated by Nalini S Malaviya   Shanthamani Muddaiah | Shivani Aggarwal | Minal Damani








Minal’s works emanate from a deep autobiographical space, reflecting upon the self, in conjunction with the external world, charting responses, which have an intense personal connect. Through a rigorous mapping device to trace diagrams and graphs of events in real-time and space, the intricate patterns that are generated, appear as macroscopic capsules of land, memories and episodes. Her current series acts as a witness to these times, documenting the volatility of the financial markets as an indication of the prevailing emotional turmoil. The fluctuations allude to hopes and dreams, fears and apprehensions, where the range of emotions reflect life during the pandemic experience. 

The exhibition functions as a convergence of material, site and situation to define the contemporaneous of witnessing, experiencing and living through the ongoing pandemic. 
 



Shanthamani Muddaiah

Hands  Year: 2019  Medium: Fiberglass on wooden pedestal, artist Shanthamani M, Convergence by Art Scene India   
Title: Hands
Year: 2019
Medium: Fiberglass on wooden pedestal Edition: Edition of 3
Note: Artist’s proof of is on display in Bangalore
Note: The artist has done “Hands” in different sizes and materials over several years.
Size:
Each Hand: 20 x 10.5 x 7.5 inches
Pedestal: 22 x 19 x 1 inches
Artist: Shanthamani Muddaiah

 Title: Flying Landscape  Year: 2016  Medium: Aluminium tubes with steel and Paint  Edition: Edition of two (larger in scale) with Artist’s Proof (pictured)  Size: 10.5 x 16.5 x 21 inches  Artist: Shanthamani Muddaiah     Title: Flying Landscape  Year: 2016  Medium: Aluminium tubes with steel and Paint  Edition: Edition of two (larger in scale) with Artist’s Proof (pictured)  Size: 10.5 x 16.5 x 21 inches  Artist: Shanthamani Muddaiah  


Title: Flying Landscape (detail) Year: 2016  Medium: Aluminium tubes with steel and Paint  Edition: Artist’s Proof (pictured)  Size: 10.5 x 16.5 x 21 inches  Artist: Shanthamani Muddaiah     Title: Flying Landscape (detail) Year: 2016  Medium: Aluminium tubes with steel and Paint  Artist’s Proof (pictured)  Size: 10.5 x 16.5 x 21 inches  Artist: Shanthamani Muddaiah

Title: Flying Landscape 
Year: 2016 
Medium: Aluminium tubes with steel and Paint 
Edition: Artist’s Proof
Note: Larger edition is on display in Paris
Size: 10.5 x 16.5 x 21 inches 
Artist: Shanthamani Muddaiah




Title: Temptation  Medium: Graphite with Charcoal on Paper  Year: 2020  Edition: Artist’s Proof  Note: One edition will be larger in size Size:  Big Apple: 2.5 x 2.5 X 2.5 inches  Small Apple: 0.75 x 1.72 x 1.5 inches  Pedestal: 8.5 x 4 x 1 inch  Artist: Shanthamani Muddaiah

Title: Temptation  Medium: Graphite with Charcoal on Paper  Year: 2020  Edition: Artist’s Proof  Note: One edition will be larger in size Size:  Big Apple: 2.5 x 2.5 X 2.5 inches  Small Apple: 0.75 x 1.72 x 1.5 inches  Pedestal: 8.5 x 4 x 1 inch  Artist: Shanthamani Muddaiah

Title: Temptation 
Medium: Graphite with Charcoal on Paper 
Year: 2020 
Edition: Artist’s Proof 
Note: One edition will be larger in size Size: 
Big Apple: 2.5 x 2.5 X 2.5 inches 
Small Apple: 0.75 x 1.72 x 1.5 inches 
Pedestal: 8.5 x 4 x 1 inch 
Artist: Shanthamani Muddaiah

Title: Temptation  Medium: Graphite with Charcoal on Paper  Year: 2020  Edition: Artist’s Proof  Note: One edition will be larger in size Size:  Big Apple: 2.5 x 2.5 X 2.5 inches  Small Apple: 0.75 x 1.72 x 1.5 inches  Pedestal: 8.5 x 4 x 1 inch  Artist: Shanthamani Muddaiah












Shivani Aggarwal

Title: Trap 2 
Medium: Acrylics and stitching thread on handmade paper 
Year: 2020 
Size: 7.5 x 11 inches each, set of 6 
Artist: Shivani Aggarwal


Title: Stitch Forms (Drawings) 
Medium: Thread stitching on paper 
Year: 2020 
Size: 4 x 6 inches each, set of 5 works 
Artist: Shivani Aggarwal


Title: Trap 
Medium: Acrylics and copper crocheted wire on paper 
Year: 2020 
Size: 12 x 8 inches each, set of 10 works 
Artist: Shivani Aggarwal


Title: Untitled 
Medium: Photography, acrylics and stitching on archival paper 
Year: 2020 
Size: 12 x 12 inches each, set of 4 works 
Artist: Shivani Aggarwal

Title: Dilemma 
Medium: Acrylics and copper wire on paper 
Year: 2020 
Size: 3 x 5 ft wall mounted 
Artist: Shivani Aggarwal


Inquire

Minal Damani

Title: Rise and Fall 1 Year: 2020 Medium: Archival pen on paper Size: 12” x 15.5” Artist: Minal Damani
Title: Rise and Fall 1 
Year: 2020 
Medium: Archival pen on paper 
Size: 12” x 15.5” 
Artist: Minal Damani


Title: Rise anRise and Fall 2 Year: 2020  Medium: Archival pen on paper  Size: 12” x 15.5”  Artist: Minal Damani
Title: Rise and Fall 2
Year: 2020 
Medium: Archival pen on paper 
Size: 12” x 15.5” 
Artist: Minal Damani


Title: Rise and Fall 3 Year: 2020  Medium: Archival pen on paper  Size: 12” x 15.5”  Artist: Minal Damani
Title: Rise and Fall 3
Year: 2020 
Medium: Archival pen on paper 
Size: 12” x 15.5” 
Artist: Minal Damani
    
Title: Rise and Fall 4 Year: 2020  Medium: Archival pen on paper  Size: 12” x 15.5”  Artist: Minal Damani
Title: Rise and Fall 4
Year: 2020 
Medium: Archival pen on paper 
Size: 12” x 15.5” 
Artist: Minal Damani
 
Title: Rise and Fall 5  Year: 2020  Medium: Archival pen on paper  Size: 12” x 15.5”  Artist: Minal Damani
Title: Rise and Fall 5 
Year: 2020 
Medium: Archival pen on paper 
Size: 12” x 15.5” 
Artist: Minal Damani


Inquire


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