Ashu Gupta’s art is rooted in emotion and observation. It emerges from a quiet, reflective space, where feelings take the lead and where the unnoticed becomes the focal point. Her artistic practice is shaped by an enduring curiosity about people, nature, and the subtle threads that bind us all. Whether it is the way our face curls up when we smile, or how a bird sits quietly on the branch of a tree looking into a limitless expanse, Ashu captures the emotional resonance of seemingly ordinary scenes. She is especially drawn to the complexity of human emotion and the unspoken values we carry—kindness, resilience, vulnerability, hope. Her work becomes a mirror, reflecting the universal experiences that connect us across time and place.
Time itself holds a special place in her creative lens. Ashu sees significance in the smallest moments—and through her work, she invites viewers to slow down, to pause, to feel and to reconnect. Nature is more than a scenic backdrop in her art—it serves as a grounding force, quietly imparting lessons in balance and patience. Ashu’s philosophy is one of gentle optimism—acknowledging sorrow and difficulty yet choosing to see the beauty that remains. Each day, no matter how ordinary, offers her something to hold close.
Ashu’s art is not loud, but it is deeply present. Each piece is a meditative offering—a quiet conversation between her inner landscape and the outer world. It is where memory and emotion meet, where nature’s intricacies are highlighted, and where the viewer is gently reminded to breathe, to look closer, and to cherish the now.

Rakhee Shenoy’s work explores the universal experience of passing time. It listens closely to the silence between moments, to the quiet, often unnoticed weight of the everyday. In her compositions, time does not rush forward—it gathers, lingers, and gently orchestrates how we remember: the slow blooming of a flower, the hush of an empty room, the warmth of a fading light. Each detail is steeped in memory, shaped not just by what is seen but by repetition, pause, and the act of noticing.
Her work reflects a deep desire to understand how spaces hold us, how they remember us long after we’ve gone—through what we touch, arrange, forget, and abandon. Stillness becomes a form of attention, an offering of presence. Change, with all its subtle shifts and ruptures, becomes a kind of truth.
As both an artist and a textile designer, Rakhee brings the quiet discipline and tactile sensibility of her weaving practice into her mixed media compositions. Threads, fragments, and surfaces—layered and intimate. There is a softness to her approach, a kind of quiet rebellion against the linear march of time. Her whimsical compositions drift instead through layers of memory and sensation, unfolding like a collage of the lived—tangled, tender, and full of breath.

Smruthi Gargi Eswar’s series of works are titled “The Centre is Everywhere”, which is part of a longer sentence—“The Centre is Everywhere, and the Circumference is Nowhere.” In cosmology, it talks of how nothing is central to the universe. Not only is it not us, (which we have taken an eternity to understand and moments to forget), but in fact nothing is. In nature, it is many, many centres of activity that brings about life as we know it.
In mythology, this idea talks about how there is no central God or hero but many—each central to their own world, and oftentimes, not necessarily working together. It is natural to have opposites, and a wide and beautiful spectrum in between. In this series, Smruthi has travelled back to nature through stories both remembered and forgotten, both earthly and celestial - each image holding a moment within its frames.
Painted in a method that is experimental—acrylic used in multiple thin washes over canvas—the pieces emulate light, making them both strong and earthy, while also ethereal and unworldly. Resembling coloured glass of church windows, as if merged with the texture of cave paintings, these pieces bring different techniques together to create a unique and singular effect. As though made from the elements—fire, water, wind, and earth—the style and visual details connects the universal language of the occult and the pagan through stories scattered across the vast landscape of Indian mythology.
What attracts Smruthi most is the obscurity of these stories. Made of words—sung, told, remembered or forgotten—it is the lack of clarity and the uncertainty of things where she finds magic. And to her, this is important. Because if not for this, Faith would have no meaning.
An alchemy of a hidden world of Gods, living in forests, or in the elements, or obscure in a vast enamelled sky, textured by the clouds they float on—Smruthi takes us on a journey into wondrous spaces through her paintings. It is a journey of multiplicity, magic, and memory—each creating their own worlds as they reside within their own unique and ultimate Centres.

Sukanya Garg explores the human body's intricacies, particularly the perceptions that stem from the constant evolution of cell structures. Her artistic practice is inspired from her journey of living with an auto-immune condition. While pain pulsated through her each moment, the nature of its invisibility led to periods of severe self-introspection giving rise to existentialist questions about the meaning of life and the significance of things that can only be felt, not seen.
The lack of success with western and various other schools of medicine and the simultaneous desperation for reprieve from pain, chartered a course for Sukanya that led her to travel across the mountains of northern and eastern India, Nepal and Kazakhstan, exposure to doctors, healers, tribal and native medicine, unravelling traditional wisdom from Hinduism, Islam, Sufism, Animism, Shamanism and the Amazonian tribal cultures. With the travels came a broadening of insight and a greater acceptance of pain, which while coupled with questions still, seeped down her persona, inking their way out through simple drawings providing a synchronicity between her condition and her artistic practice. Sukanya’s art came to centre around the concept of ‘Every Scar Has a Story’ to narrate stories and experiences of scarless wounds, alchemizing them through the visual language of cellular biology.
As an artist, Sukanya believes that our interactions with the space around us and the nature we belong to are all guided by how our cells connect with them. Our body, over time, carries all these connections, and weaves them into stories – some told, some untold. In the past few years, Sukanya has developed an artistic language that explores life’s fragility and resilience whilst taking us on a simultaneous path into the body's interiority and the cosmos of the universe.
The visual aesthetic of Sukanya’s works draws inspiration from the form of a human cell. The first time this imagery entered her practice was after she participated in a native South American healing ritual called ‘Kambo’. What interests Sukanya is how the process of repeating a singular form translates into a practice of chanting, with every chant telling different stories, sometimes about scars visible on our physical bodies and others that leave no residues on the skin’s surface.
Sukanya’s practice, therefore, is a homage to the fragility of our existence, including the ephemerality of the scars it leaves behind, with a subsequent attempt to bring the pain to the forefront so that it can, perhaps, heal. For her, art is a medium of instilling hope in a turbulent time, such as the one we inhabit today.