Artist Studio Where Art Born

Smita Jain and her studio

QUAZ group artists and writer Dr Ved Prakash Bhardwaj visited Smita Jain’s studio in Gurugram.

Smita Jain in her studio

We often come to know an artist through their art—primarily through the works displayed in galleries. However, an artist’s true world exists in their studio: a space where dreams are born, imagination takes flight, and inner sensibilities find form. To truly understand Smita Jain and her art, a visit to her studio became essential.

I have known Smita for the past few years and have encountered her works from time to time, yet an opportunity for an in-depth conversation about her art had never quite materialised. When I received an invitation to engage with and write about the works of artists from the QUAZ Group, it felt natural to begin by visiting their studios—seeing their works up close and engaging in direct dialogue. The first visit in this series was to Smita Jain’s studio in Gurugram. QUAZ is a group of women artists who have a strong bond of dedication to art.

Smita Jain, Dr Ved Prakash Bhardwaj, Shikha Gupta and Sanju Das.

On the afternoon of April 21, 2026, sometime after 3 PM, I arrived at her studio. Fellow artist Ritu Singh was already present. Soon after, Ragini Sinha joined us, followed by Nitasha Jaini, Shikha Gupta, and Sanju Das. I have known Ragini, Nitasha, and Sanju for quite some time and have previously written about their work, but Smita Jain’s work was relatively new to me.

Nitasha Jaini, Smita Jain, Sanju Das, Ritu Singh, Dr Ved Prakash Bhardwaj and Ragini Sinha.

Amidst her paintings, a conversation began to unfold. While Smita spoke about her works, an engaging exchange of ideas developed among the artists present. The canvases seemed to gradually reveal themselves, bringing forth different phases of Smita’s artistic journey. I had the opportunity to see some of her early works as well as her most recent creations, some of which are set to be exhibited internationally. Details about the venue and dates of that exhibition are yet to be announced—until then, the anticipation itself holds its own charm.

Ritu Singh and Nitasha Jaini.

I will soon return with a more detailed exploration of Smita Jain’s artistic journey and conceptual framework. For now, enjoy a glimpse into this visit to her studio through the accompanying images.

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By Dr Ved Prakash Bhardwaj

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Art News India chronicles contemporary and traditional Indian art, spotlighting artists, critics, and cultural spaces while connecting readers with thoughtful reviews, interviews, and event coverage across the subcontinent.

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An intricately carved sandstone temple frieze from India, photographed in extreme detail to showcase swirling floral motifs, geometric borders, and stylized mythological creatures. The weathered stone surface reveals subtle variations of ochre, umber, and pale grey, with centuries of erosion visible in softened edges. The sculpture occupies the right two-thirds of the frame, while the left third falls into a softly blurred architectural background, suggesting the larger temple structure. Late afternoon golden-hour sunlight skims across the carvings from the side, creating dramatic shadows that emphasize depth and craftsmanship. Shot at eye level with a medium focal length for natural perspective, the photographic realism and warm, dignified mood underscore India’s cultural heritage for an art and culture news feature.
A polished glass display case in a modern Indian museum, containing a carefully lit bronze Chola-style Nataraja sculpture on a matte black plinth. The bronze gleams with age-worn patina in deep browns and subtle green highlights, surrounded by minimalist white wall labels that are deliberately out of focus. Cool, controlled museum lighting from above and behind creates a gentle rim light around the sculpture’s silhouette and a soft reflection on the glass surface. The camera is positioned at a slightly lowered eye level, framing the sculpture centrally with symmetrical balance, while distant gallery walls appear as diffused shapes. The photographic image is crisp, professional, and museum-journalistic, suitable for an article about major Indian art exhibitions and institutional collections.
A serene corner of a contemporary Indian artist’s studio, without any people, featuring a large unfinished canvas on a sturdy wooden easel. The artwork shows emerging abstract forms in earthy reds, saffron, and indigo, with visible brushstrokes and taped reference photos of Indian architecture pinned to a nearby corkboard, softly out of focus. The concrete floor is speckled with dried paint, and neatly stacked canvases lean against a whitewashed brick wall. Soft, overcast daylight enters through an unseen window, producing even, shadowless illumination with gentle highlights on wet paint. Shot from a three-quarter angle with moderate depth of field, the scene feels calm, contemplative, and professionally documented, aligning with a photographic realism style ideal for a feature on India’s contemporary art practices.

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