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Ayushi is a visual artist based in New Delhi whose work reflects a deep, evolving engagement with her inner world. She describes her art as emerging from “dreams or memories that seem to take on a life of their own,” while some ideas begin as “a single thread leading her into unknown creative territory.” Her visual language is marked by surreal compositions, faceless figures, and symbolic motifs like eyes and trees that act as extensions of human presence.
She begins each piece by “writing about the idea at length, letting the thought expand and settle,” then sketches shapes and textures, allowing the process to be “fluid and intuitive.” Over the years, Ayushi’s practice has grown from “raw, intuitive sketches” to more intricate bodies of work, moving between two core ideas: one, a “mythic narration” where a painting becomes a “portal—a specific moment surfacing from memory, dream, or a live experience,” and the other, quieter “interior portals” where rooms and thresholds become metaphors for psychological states.
Themes of transformation, femininity, and introspection recur throughout her practice. She explains that “the fluidity in the characters of my paintings has become the core structure” of her work, where “bodies carry the delicacy of an intimate interaction” and the colors “appear to be in conversation.” Her compositions evoke a mood of stillness and soft power, inviting viewers to enter “a quiet exploration of femininity grounded in introspection and rest.”

Mainaz Bano is a painter based in Lucknow, whose practice draws from the enduring artistic traditions of Awadh while speaking to the complexities of contemporary life. Deeply informed by the visual language of miniature painting, her work exists within a continuum of time—engaging the past, present, and future in a seamless narrative flow.
In Lucknow, once the cultural heart of Awadh, miniature painting flourished under the patronage of figures like Nawab Wajid Ali Shah and Begam Hazrat Mahal. These artworks, rich with Indo-Persian, Indo-British, and Indo-Roman influences, form the aesthetic and philosophical backbone of Mainaz’s practice. But rather than reproducing these historical forms, she transforms them—offering a layered dialogue between heritage and modernity.
Her compositions often juxtapose the grandeur of mythological or historical imagery with the quiet ordinariness of the modern world. Through this contrast, she reflects her own experience of navigating Lucknow’s evolving urban landscape.
Mainaz’s process is as much about storytelling as it is about form. Her paintings are not spontaneous gestures but intentional acts of narration. Her work doesn’t just depict—it converses. It draws the viewer to engage with time, identity, and the persistence of tradition despite its slow erosion.
Every painting she creates is deliberate, grounded in extensive research, and close engagement with libraries and archives. This scholarly approach allows her to revive traditional motifs with new urgency, embedding them in scenes that reflect the textures of contemporary life in a rapidly changing city. In Mainaz’s hands, history is not static—it pulses, stretches, and folds into the present.
By embracing miniature painting as both method and metaphor, Mainaz positions herself within a living tradition—one that honors the intricate past while insisting on its relevance in the now.
She earned her B.V.A. (2009) and M.V.A. (2011) from Lucknow University.

Beauty is a concept that has intrigued and captivated humanity for centuries. It draws us in, invites us closer, and promises something desirable—something worth striving for. Yet, in our collective obsession with beauty, we often fail to see what lies beneath it. For the artist, beauty can become a trap—an illusion that blinds us to the truths we do not wish to confront. Through her work, Mrudhubhashini aims to challenge the way beauty is used and understood.
After spending most of her life traveling and immersing herself in different cultures, she returned to India to further explore its culture. No matter where she went, the ties back to India had always been the strongest. Her work reflects this return—a deep dive into the beauty and complexity of her cultural heritage, while also questioning and rejecting some of the unjust ideologies embedded within it.
At first glance, her pieces lure the viewer with their aesthetic allure—vibrant colours and sumptuous forms that draw the eye. But as the gaze lingers, the beauty fades, revealing the raw, often uncomfortable truth beneath. What was once seductive becomes unsettling, forcing the viewer to confront the ugliness hidden behind the façade. In this way, her art mirrors the societal tendency to avoid unpleasant realities as long as they can be cloaked in beauty.
She draws inspiration from Indian mythology, a cultural foundation that has shaped many traditions and beliefs in her society. While these stories are deeply ingrained in her upbringing, her work actively questions and rejects the ideologies they carry, especially those that perpetuate injustice and inequality. By using the very symbols of beauty and wealth—gold, bronze, and copper, colours that represent status and power in Indian culture—she subverts these ideals.
Her practice is an ongoing dialogue between the conventional and the unconventional. She combines traditional materials such as oil paints and pastels with experimental mediums including resin, found objects, and silicone—often pushing them to their limits.

Pranali Powar is a visual artist whose practice is rooted in personal experience, emotional memory and an evolving relationship with colour and form. Pranali Powar’s work draws directly from her lived experiences — moments of reflection, memory, and emotional shifts become the basis of her compositions. “The subject comes from something that has happened in my life,” she says, and these personal events become starting points for her canvas-based explorations. She often begins with an internal image or feeling and then builds the visual composition around it, carefully choosing colours and forms to reflect the emotion or idea.
Her process involves both intuition and structure: she starts with sketches and research, considers colour compatibility, and focuses on the flow of lines and shapes to communicate meaning. Acrylic is her preferred medium, and she works with both transparent and opaque layers to create depth and contrast. Over time, she has grown more attuned to what she calls “intangible art” — work that is not just visually expressive but emotionally resonant.
Born in Ichalkaranji, Maharashtra, she began her formal training in art at Lalitkala Mahavidyalaya, where she completed the A.T.D. program. In 2018, after moving to Kolhapur following her marriage, she found new support and encouragement from her family to continue her education. This led her to pursue a J.D. Art degree at Dalvi’s Art Institute, where she began to develop a deeper interest in creative and conceptual art.

Pratulya (b. 1994) is an artist whose work explores the raw inner landscapes of the human condition. Born in Lucknow, with roots in Uttarakhand, his life has been shaped by movement, both geographic and emotional. Leaving home at 17, early experiences of alienation, solitude, and a sense of not belonging became the emotional terrain from which his art would grow.
 About half a decade ago, Pratulya began navigating his own way through mediums and techniques through relentless experimentation—“I remember once mixing coconut oil with oil paints because I didn’t know about linseed oil.” Over time, his work grew into two distinct styles: one with oil paints and pastels, where he creates emotional, structured figures caught in a moment of thought and the other with pen drawings, which are more spontaneous and chaotic, filled with surreal shapes and expressive lines.
 At the core of his practice is an ongoing attempt to make sense of complex emotional states. “Most of my ideas begin with a feeling—something I observed, absorbed, or quietly carried,” he says. Rather than working from visual recall, he draws from emotional memory, choosing his materials based on how an idea “wants to live.”
Recurring themes of pain, anxiety, and the search for meaning pulse through his work, often through unsettling color choices and distorted figures. Whether working in a limited palette of 5 to 7 jarring hues or drawing crowded, alien dreamscapes in ink, his pieces invite viewers into a deeper confrontation with emotion.
Beyond his studio practice, Pratulya is active in the underground art scene—creating zines, books, and pop-up shows that merge visual art with writing and design, cultivating not just work, but community.

Sabitha Kadannappally is a sculptor and visual artist based in Kerala whose practice is rooted in concept-driven explorations of how emotions manifest—both within ourselves and in our relationships with others. Making the art is secondary; the idea behind it comes first. Her work is meant to communicate a concept, not just exist as an object.
While her early years in art school were marked by an exploration of colour in sculpture, Sabitha’s focus shifted towards the end of her MFA, when she moved away from colour entirely. For her, colour risked diluting the clarity of the concept; a minimalistic approach became central to her visual language. This search for essence—where transformation begins and what it feels like—continues to guide her practice.
Primarily a sculptor, Sabitha has also ventured beyond the medium. During a residency in Switzerland, faced with the difficulty of sourcing familiar materials, she began a rare foray into drawing—opening another space for her ideas to take form.
Born in 1985 in Thalassery, Kerala, Sabitha came to art after working in other fields. She earned her BFA in Sculpture from the Government College of Fine Arts, Thrissur, in 2015, and her MFA in Sculpture from the College of Fine Arts, Thiruvananthapuram, in 2018. Since then, she has exhibited in solo and group shows, undertaken public projects and residencies, and taught workshops—including art sessions for children with special needs.

Sebin is a visual artist from Idukki, Kerala, whose practice moves between sculpture, installation, and environmental art. Growing up in a migrant farming community in the Western Ghats, his earliest encounters with art came from nature—tree branches that resembled animals or human figures, which he would collect, carve, and reimagine. This early connection with organic form, texture, and storytelling continues to shape the way he works with material.
Sebin works across both traditional and ephemeral mediums—bronze, wood, and ceramics sit alongside rust, moss, paper pulp, and decaying plant matter. He sees material not just as a formal choice, but as a carrier of cultural and historical memory. The use of impermanent or living elements becomes a way to reflect on what is lost, what can be held, and how transformation occurs over time. Through this, Sebin invites viewers to pause at the edge of things—between the material and the conceptual, permanence and impermanence, destruction and renewal. His sculptures show how the body relates to the land, and explore ideas of survival, memory, and decay. Some works look at how society and politics affect the body, while others focus on the small, often unnoticed connections between people and nature.
Sebin holds a BFA from the College of Fine Arts, Thrissur and an MFA from the College of Fine Arts, Thiruvananthapuram.

Sruthi Sivakumar is a visual artist whose practice is rooted in an intimate, evolving relationship with nature. Working across mediums like handmade paper, mixed media, and gouache, she finds meaning in the small, often overlooked elements of the natural world—duckweed in a pond, the form of a dead insect, or the quiet transformation of a plant. These become portals into larger questions about life, impermanence, and interdependence.

Her process is layered and tactile, involving the creation of her own paper from recycled materials like plant fibers and even elephant dung. This act of making becomes inseparable from the artwork itself. Sruthi approaches each piece as a quiet inquiry—whether it’s an imagined pond ecosystem or a metaphorical reflection on parasitic plants—inviting viewers to consider how beauty, decay, and coexistence are constantly shaping the environments around and within us.
Originally from Kerala, Sruthi earned her BFA from Raja Ravi Varma College of Fine Arts, Mavelikara, and her MFA from RLV College of Music and Fine Arts, Thrippunithura. She has also undertaken a research residency at the Lalithakala Akademi. Her work is driven by exploration, play, and a desire to express the unsaid through the organic language of materials.

Surabhi, is a sculptor and ceramic artist whose practice emerges from close observation of everyday life. Working primarily with clay and locally available materials, she hand-builds forms that reflect the textures, moods, and quiet rhythms of her surroundings.
Surabhi’s process is rooted in simplicity, influenced by the storytelling of Vaikom Muhammed Basheer, whose writing inspires her pursuit of an unadorned yet deeply detailed visual language. Her sculptures often take the form of relief—part journal, part structure—where subtle contrasts and minimal interventions carry emotional and spatial weight.
Her miniature works map an internal landscape, distilling memory and perception into elemental forms - turning the gaze inward, using sculpture to explore questions of existence, ambiguity, and presence.
Surabhi earned her BFA in Sculpture from the Government College of Fine Arts, Thrissur (2019), and completed her MFA in Design (Ceramic and Glass) from Kala Bhavana, Visva-Bharati University, Santiniketan (2022).