The group exhibition ‘Advaya’, held at the Visual Arts Gallery of the India Habitat Centre, New Delhi, from 5–9 July 2026, brought together an engaging collection of paintings, sculptures, and ceramic works by a distinguished group of contemporary artists. Featuring works by Devilal Patidar, Pradeep Kumar Chauhan, Rakhi Kumar, Ashish Bose, Hina Bhatt, Sharmila Sharma, Maitreyi Kumar, Anita Kumari, JD Manikpuri, Kiran Soni Gupta, Manish Kumar Rao, Prem Shankar Prasad, Prof. Saroj Rani, and Ramkrishna Pal, the exhibition successfully demonstrated the richness and diversity of contemporary Indian art.
One of the exhibition’s greatest achievements lay in its thoughtful curation, which allowed a wide range of artistic styles, media, and conceptual approaches to coexist harmoniously within a single space. The careful selection and presentation of the artworks reflected a discerning artistic vision, while the diversity of themes—from personal memory and mythology to urban life and abstraction—made the exhibition visually engaging and intellectually rewarding.
Among the painters, Moitreyee Kumar presented a compelling body of abstract works in which composition and colour become vehicles for emotional experience. Through geometric divisions, rhythmic linear structures, and clusters of deep tones illuminated by flashes of brilliant colour, she evokes both human aspirations and the resilience of the human spirit. Her paintings unfold as mysterious abstract landscapes, suggesting mountains, plains, and architectural traces that exist between memory and imagination, where nature becomes symbolic rather than descriptive.
Sharmila Sharma explored the emotional landscape of Delhi Metro commuters. Having previously examined women’s social status through the recurring image of the puppet, her latest series shifts its attention to the anonymous yet emotionally charged environment of metropolitan public transport. Working predominantly in monochrome, she strategically introduces colour to isolate and emphasise a single figure, transforming that individual into the emotional focal point of each composition and creating a striking visual language.
The paintings of Ram Omkar resonate with the spirit of indigenous music and melody. His figurative compositions portray singers and musicians whose performances become metaphors for the lyrical rhythm of life itself. Although grounded in figuration, his paintings incorporate abstract backgrounds that enrich their visual depth and poetic atmosphere.
Ceramic artist Devilal Patidar demonstrated the remarkable artistic possibilities of clay. Having devoted his life to ceramics and terracotta, he has developed a distinctive visual language that transcends conventional pottery and enters the realm of fine art. His innovative experiments with glazing, texture, and form produce works that are both technically accomplished and aesthetically compelling.
Although primarily recognised as a metal sculptor, Pradeep Kumar Chauhan presented an impressive series of ceramic sculptures in this exhibition. Focusing on the human torso as his central motif, he experimented with different varieties of clay to reveal the expressive and structural potential of the ceramic medium, producing works that are simultaneously powerful and refined.
The ceramic works of Prem Shankar Prasad were equally noteworthy for their craftsmanship and conceptual clarity. Meanwhile, the sculptures of Ashish Bose made a distinct impact through their thoughtful engagement with contemporary life. Though largely figurative in appearance, each sculpture is driven by a strong conceptual foundation, offering subtle yet incisive social commentary that distinguishes his artistic practice.
Manish Kumar Rao captivated viewers through his narrative paintings, often inspired by mythological characters. Executed largely in monochromatic tones, his compositions employ carefully balanced contrasts of light and shadow to create convincing spatial depth and sculptural presence, lending the paintings a remarkable three-dimensional quality.
The paintings of Rakhi Kumar reveal a sensitive exploration of human emotions through colour, texture, and symbolic imagery. Her compositions feature recognisable figures, animals, architectural forms, and natural elements, yet they deliberately avoid literal representation. Instead, these forms are transformed into symbolic structures that express memory, inner experience, and emotional consciousness. Her work privileges psychological reality over external appearance, inviting viewers into deeply personal and contemplative visual spaces.
Drawing and folk traditions play an important role in the artistic language of Anita Kumari. Women occupy the centre of her compositions, where they appear as figures that simultaneously evoke mythology and contemporary experience. Through an engaging dialogue with the folk art traditions of Bihar, she creates works that successfully bridge cultural heritage with modern artistic concerns.
The ceramic sculptures of JD Manikpuri further demonstrated the expressive possibilities of the medium, while the works of Ramkrishna Pal, Hina Bhatt, and Kiran Soni Gupta also made significant contributions to the exhibition through their individual artistic approaches and visual strength.
Overall, Advaya emerged as a thoughtfully curated exhibition that celebrated the plurality of contemporary Indian artistic practice. By bringing together abstraction and figuration, painting and sculpture, ceramics and mixed visual languages, the exhibition offered viewers an enriching experience that highlighted the vitality, innovation, and conceptual diversity of today’s artists. More than simply presenting individual works, Advaya created a meaningful dialogue between different artistic voices, reaffirming the enduring capacity of art to reflect human experience, cultural memory, and contemporary society.
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