“A SILENT DIALOGUE" Art Exhibition by Neena Singh, Pandurang Tathe, Balasaheb Abhang in Gallery Art & Soul

A Silent Dialogue 

Abstracts by Neena Singh, Pandurang Tathe and Balasaheb Abhang

The exhibition, A Silent Dialogue is set to preview in Mumbai’s Art & Soul gallery in Worli on the 10th of September. Curated by Niharika Kamalia, A Silent Dialogue is an unhurried experience of the viewer’s attunement with art. When exploring the chromatic canvas, the lasting impressions of pleasure and contentment are created, catalysing a chain of reactions felt towards the visual. 

The abstracts in this show avoid offering any literal interpretations and rely on audience remembrances shifting focus from what the work represents to how it functions and why it exists. Instead of presenting a static image for passive consumption, the works demand an active psychological dialogue beyond the painted substrate. 

The exhibit features 3 artists from Pune, Neena Singh, Pandurang Tathe and Balasaheb Abhang who challenge the traditional limits of their artistic vacuums by recognizing the value of personality, individuality and temperament. Stripping away from representation and transitioning towards a visceral contemporary impact, this deliberate aesthetic shift invites spectators into a distinctive sensuous space where visual vocabulary is enthusiastically felt rather than intellectually decoded. The canvas is not a barrier. It is a meeting place. Here, the process matters. Above all, encounters matter.

About Neena Singh: Neena Singh is a self – taught contemporary artist who has relentlessly pursued her passion for the arts. She has had 14 solo exhibitions and participated in numerous group shows at esteemed organizations to her credit. She did her Masters and MPhil in Sociology and holds a Doctorate from JNU New Delhi. Neena has also served the Indian Revenue Service for 34 years.

Neena’s artworks have won awards and received critical acclaim within India and internationally. To name a few, she was bestowed with the Woman Art Award by MUSA International at the Woman’s Essence Show in Berlin, 2023, AUM, the Global Art Centre honoured her with the Artistic Excellence Award in 2024 Her artworks have been included in multiple auctions in India and Abroad and are part of prestigious collections like the Lalit Kala Akademi and RPG Foundation to name a few.

The artists lives and works in Pune, India.

About Pandurang Tathe: Pandurang Tathe is a veteran contemporary Indian artist who has actively contributed to the art world for over three decades. He is known for his postmodern abstracts and has recently taken to figurative painting. He completed his formal education in art at the Abhinav Kala Mahavidyalaya, Pune and later earned his Masters in Fine Arts from Dr. Babasaheb Ambedkar Marathwada University, Aurangabad. In addition to his studio practice, he served as an assistant lecturer at Abhinav Kala Mahavidyalaya, Pune.

Tathe has presented his oeuvre through numerous solo exhibitions in Mumbai, his first one was held in 1991 at Jehangir Art Gallery. He has shown across India in Chennai, Pune and Delhi and internationally and has participated in several group show and art camps. To name a few, Tathe has been awarded with the State Art Award, Government of Maharashtra 1982, the AIFACS award New Delhi, 1988 along with 12 other renowned awards. 

The artist lives and works in Pune, India.

About Balasaheb Abhang: Balasaheb Abhang is a contemporary Indian artist noted for his abstract fields and additive sculpting. He pursued his formal education in fine arts at the Abhinav Kala Mahavidyalaya in Pune, earning a Diploma in Art Education. 

Through his career, Abhang has showcased his artwork through several solo exhibitions at venues such as the Jehangir Art Gallery in Mumbai alongside participating in numerous group shows and art camps across India. To name a few, Balasaheb has earned many honours including the Maharashtra State Art Award in 2003 and the Br. V.V. Oak Award in 1995, 1997, 1999 and 2004. His paintings are featured in major private and corporate collections nationally and internationally.

The artist lives and works in Pune, India.

About Art & Soul:

Gallery Art & Soul, founded by Dr. Tarana Khubchandani, established in 2003, is a Modern and Contemporary Art gallery in the heart of Mumbai. The Gallery has since pursued a discourse within India and overseas of aesthetic dialogues, producing spectacles that vary in genre, materiality and conceptual thought across the historical timeline of Indian Art.

From its inception, Art & Soul has also hosted a stellar Breast Cancer Charity Support salon exhibition and gala and over the last two decades with exhibitions and retrospectives of adept and emerging artists. The Gallery represents a cross section of virtuosos who chiefly practice their aesthetics within the contemporary art umbrella; a focus that supports a crucial section of the art eco-system. The gallery’s exhibition programming is dynamically zestful and interspersed with the senior most artist presentations, curated solo and group shows as well as debutant solo shows supporting and encouraging emerging artists. Art & Soul has also stayed at the forefront of promoting ceramics as a unique visual art form with annual curatorial projects in support of the medium.

 From: 10^th September to 30^th September 2026

“A SILENT DIALOGUE”

An Art Exhibition by

Three Eminent Artists - Neena Singh, Pandurang Tathe and Balasaheb Abhang

Title of the show: A Silent Dialogue

Preview: Art Night Thursday, 10th September 2026, 5 pm onwards Show runs through 1st October

 

VENUE:

Gallery Art & Soul

Ground Floor, Madhuli, Shivsagar Estate,

Worli, Mumbai 400 018.

Website: www.galleryartnsoul.com 

Email id: galleryartnsoul@gmail.com

Contact No.: +91 8080055450 Instagram - @galleryartandsoul

UNTOLD STORIES — Exploring the Mysterious World Between Books and Their Readers

Solo Exhibition of Paintings by Rajesh Kedare at Jehangir Art Gallery, Mumbai.

Mumbai, September 2026:  Artist Rajesh Kedare presents UNTOLD STORIES, a solo exhibition of paintings exploring the fascinating relationship between books, readers and the unseen stories that unfold between them. The exhibition will be held from 7th to 13th September 2026 at Jehangir Art Gallery, Kala Ghoda, Mumbai.

For Kedare, among the most beautiful sights in the world are books and people absorbed in reading them. A reader may be physically present before us, yet the mind is somewhere else—wandering through another world, another time, another life. It is this quiet sense of mystery that forms the heart of Untold Stories.

The exhibition looks beyond the stories printed on the pages of a book to explore the stories that begin to form around it. A book can awaken a memory, change a thought, create an emotion, spark curiosity or simply leave behind a silence. Sometimes, the most interesting story is not the one being read, but the one unfolding within the reader.

Through gestures, expressions, relationships and imagined moments, Kedare’s paintings invite viewers to pause and wonder about the invisible worlds carried by every reader.

“Every book tells a story. Every reader carries another. And somewhere between the two are countless stories that may never be spoken—the Untold Stories.”

Art lovers, collectors, book lovers and the general public are warmly invited to experience the exhibition.

From: 7^th to 13^th September 2026-“UNTOLD STORIES”

A Solo Show of Paintings

By Renowned Artist Rajesh Kedare

 VENUE:

Jehangir Art Gallery-Hirji Gallery

M.G. Road, Kala Ghoda,,Mumbai 400001

Timing:  11am to 7pm

Contact: +91 9890404641

 

“SHIVOHUM 2.0: THE UNIFICATION” Art Exhibition by renowned artist Dr. Amitabh Shrivastav in Jehangir Art Gallery

MUMBAI, INDIA — Biophilic Visual artist Dr. Amitabh Shrivastav will present his solo exhibition, "Shivohum 2.0: The Unification," from 2 to 7 September 2026 at the Jehangir Art Gallery in Mumbai. Rooted in the artist’s ongoing exploration of coexistence, oneness in duality, and interconnectedness, the exhibition examines the convergence of seemingly contradictory forces through a powerful visual palette of red and black.

Artist: Dr. Amitabh Shrivastav

The exhibition brings together richly layered acrylic on canvas paintings and innovative Biophilic installation utilizing vetiver roots. Through color, gesture, and texture,

Dr. Shrivastav explores the philosophical union of Shiva and Shakti, represented through the contrasting yet interdependent energies of black and red. Rather than treating these forces as oppositional, the artist considers their entanglement fundamental to creation itself. Red evokes vitality, passion, and generative energy, while black embodies depth, mystery, and the unknown. Their convergence creates a visual tension that gradually transforms into harmony, suggesting a fluid understanding of identity, nature, and existence beyond fixed binaries.

In "Shivohum 2.0: The Unification," Dr. Shrivastav draws profound inspiration from the intricate structures and ecological intelligence of vetiver roots (Chrysopogon zizanioides). Known for deep-reaching systems that hold soil, conserve groundwater, and participate in networks of natural exchange, vetiver serves as a metaphor for interconnected life. The organic complexity of these roots informs the artist’s visual vocabulary—where branching forms, rhythmic movements, and enveloping voids evoke bodily structures, circulation, memory, and the womb as a site of creation.

Dr. Shrivastav holds a degree in Fine Arts from Banaras Hindu University and a PhD in Art & Design from the Sorbonne in France. His multidisciplinary practice spans painting, sculpture, mixed-media installation, AI-robotics, and public art. By merging ecological, philosophical, and spiritual thought with contemporary artistic processes, his work deeply investigates the relationship between human existence and the natural world.

"Shivohum 2.0: The Unification" invites viewers to contemplate their own relationship with the body, nature, and the invisible forces that bind seemingly separate entities together. Ultimately, the exhibition proposes coexistence not as the erasure of difference, but as the realization of wholeness through deep interconnectedness.

About the Exhibition:

Dates: 2–7 September 2026

Venue: Jehangir Art Gallery, Kala Ghoda, Fort, Mumbai

Timings: 11:00 AM to 7:00 PM Daily

Mediums: Acrylic on Canvas & Vetiver Root Installations

Admission: Free and open to the public

From: 2nd to 7th September 2026

“SHIVOHUM 2.0: THE UNIFICATION”

Art Exhibition by  Renowned artist Dr. Amitabh Shrivastav

VENUE: Jehangir Art Gallery, 161-B, M.G. Road,  Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm +91 98990 97791

The Soft Stone - Paper pulp, impression and the unsettled category of Dattatreya Apte’s casts

Aakriti Art Gallery presents The Soft Stone, an exhibition of paper pulp casts by Dattatreya Apte, curated by Nanak Ganguly, at Gallery No. 3, Lalit Kala Akademi, Kolkata, from 2 to 14 September 2026. The preview on 2 September will be inaugurated by art critic Uma Nair. A public talk on paper pulp as a medium follows on 3 September.

A material that refuses its usual role

Paper is ordinarily treated as a support — thin, secondary, a surface that receives an image and then recedes. Apte’s practice reverses that hierarchy. Wet pulp is dyed, pressed into a mould and left to set until fibre acquires weight, edge and permanence. Soft while wet, it hardens into relief. The title of the exhibition names that contradiction: a material we expect to yield, holding form with the quiet authority of stone.

Apte has worked with pulp for more than two decades. A printmaker by training, he has long argued that drawing is the essence of printmaking. Pulp opened a different kind of making. Once the fibre is pressed and allowed to dry, the image is never wholly predetermined. Leaves leave their veins. Architectural fragments leave their edges. Half-legible marks rise like weathered inscriptions. Nature and construction occupy the same plane. The artist has spoken of the element of surprise in the casting process — the moment when the material returns something that was not fully planned.

From the white casts to colour

The earliest white casts, made in 1999, have an archaeological stillness, as if the forms had been uncovered rather than constructed. Later works introduce pigment, collage and a firmer geometry: brick and house, mask and pedestal, bands of green and blue, fragments that read as both architecture and figure. Colour is often held within the body of the sheet rather than applied only on top. Light does not fall on a flat image so much as travel across a raised edge, catching thickness, shadow and the irregular grain of the pulp.

These are not works that declare themselves from across the room. They reward slow looking — texture, edge, and the small accidents of fibre that no edition can fully repeat.

Print, sculpture, or a third medium

The procedure is graphic: a matrix, pressure, a transfer of mark. The object is sculptural: unique relief, mass, a form that must be seen in depth. Museums, catalogues and the market still prefer a single label. The casts themselves do not. They sit in the intimate register of the surface that remembers — neither pure image nor pure volume.

Indian modern and contemporary practice has already tested this ground. Somnath Hore impregnated wet pulp with pigment and pressed it into carved woodblocks; Zarina Hashmi used cast handmade paper as architecture and measure; later artists have taken fibre toward sculpture and installation.¹ Apte’s contribution is quieter and more sustained: a long fidelity to the cast relief, and a willingness to leave the medium slightly unclassified.

The Soft Stone does not settle the argument. It stages it. The useful question — print or sculpture — remains open because the work declines a simple answer. What it offers instead is a surface that has received an impression and, in receiving it, become more durable than the moment of contact that made it.

Seeing the work

The exhibition is on view at Lalit Kala Akademi from 2 to 14 September 2026. The talk on 3 September, moderated by Nanak Ganguly, brings together Johny ML, Suresh Jayaram, Dattatreya Apte and Aman Bachhawat to consider paper pulp as print, sculpture, or a category of its own.

Visitors are asked only to look slowly. The soft becomes durable. The fleeting becomes lasting.

Exhibition details

The Soft Stone — Paper Pulp Casts of Dattatreya Apte

Curated by Nanak Ganguly

2–14 September 2026

Gallery No. 3, Lalit Kala Akademi, 85 A.J.C. Bose Road, Kolkata 700014

Preview: Wednesday, 2 September 2026, 5.30 pm

Talk: Thursday, 3 September 2026, 5.30 pm, Multipurpose Hall, 3rd Floor

Presented by Aakriti Art Gallery

Online viewing- www.aakritiartgallery.com

What Not to Wear on a Horse

A warm shifting checkerboard-like interplay of dark sienna and indigo versus corals, pinks and reds balance a single chartreuse square at the bottom left. Prashant Salvi’s intriguing integration of oil and other types of particles with pigment add texture to his layered applications of color and slow down the reading of his work. The presence of the series recedes slightly from its conceptual companion due to its paler shades and thinned applications of paint. Another vertical composition, its right hand column of squares is cropped. There are sets of smaller squares faintly visible with the atmospheric blocks of grey green and rust. The piece is punctuated by a dark, glittering square flanked by a small flat red box abutting the right edge of the painting. I have found my center. He creates rich, sensual, colorful, intensely felt, and jarringly material paintings. With sumptuous colors and richly encrusted Salvi seeks to bring from the gathered quiddities that stew of unnamable visual and emotional qualities of the world a visual situation intended to generate both intense engagement and quiet contemplation in the viewer.

 

Left Artist Prashant Salvi and Abhijeet Gondkar in Nippon gallery-Mumbai

Taking a step into Prashant Salvi’s space, I realize the works as a whole invite a natural sifting through and pleasurable classification of his pictorial modes. This parallels his creative process. The artist presently exercises capabilities that engage a density of formative parameters. There is the intensity of attention; there is the tolerance for the confounding as well as the compounding of that which is discernible; there is the alertness to attraction, which drives the sorting and apprizing through the oceanic character of phenomenology. What Not to Wear on a Horse includes an array of other works revealing the range of Salvi’s phenomenological investigations. The series exemplifies the dense, over-all gestural painted lines he had long used for their arousal of kinetic sensation. Some result from his long held fascination with archetypal, insistent geometric configurations, which appear and disappear as they are framed and formed in his irregular shifting fields. What Not to Wear on a Horse refers to particulars in the visual and emotional world which catch the artist’s eye and stir his mind, and from which he draws substance for his imaginative proposals. Among these bits and pieces of the real world, interactions occur and compel decisions of color, form, and surface to go in unexpected directions. Aspects of artifacts make their appearance in his paintings repeatedly. Salvi seizes upon the essential visual properties he sees in these objects which, when filtered through his ever churning mind, become archetypes to be used and adapted endlessly, items in his ever evolving creative vocabulary. While Salvi’s work is grounded by an empirical approach to the quiddities of this world, it attains transcendence by providing the viewer with the contemplative space in which to engage with mysterious new worlds. The works embrace the persistent yet fleeting nature of time and examines this force as a unifying factor of human existence.

 

The artist draws inspiration from a variety of art forms, to create complex, highly imaginative works that fuse distinct cultural references and modes of artistic representation in What Not to Wear on a Horse. While the artist find inspiration in numerous sources, his distinct visual language is always charged with personal significance, incorporating his fantasy universe, for example, recall the yellow-tinged light that permeated the artists’ childhood home, while his vast array of signs and symbols are often drawn from his own dreams. Throughout this new body of work the artist gives space and form to his vivid inner world, and the works collapse distinctions between body, architecture, fantasy and sacred geometry, to create a universe where the self fantastically converges with the wider world. An airplane emerges to greet the bird on the window sill. Defying conventions of perspectival space, Salvi’s works complicate notions of figure and ground; in The Bird Song the central figure depicts a fantastical landscape, as if another universe is springing forth from the subject’s head. The work’s striped; brightly-colored background recalls the geometric compositions on the vibrant surfaces. Across Salvi’s patterned surface, the central figure’s limbs cast long shadows, and the artists’ geometric worlds reveal traces of their inhabitants at every turn, blending painting practices to thwart distinctions between interiority and exteriority, figure and ground, and self and world. Representing their dreamlike universe, Prashant Salvi considers space an expansive term that simultaneously encompasses both the public sphere and inner fantasy.

 

For Salvi, these works explore psychological conditions, manifested in the physiology of the human form.  What Not to Wear on a Horse represents the synthesis of opposing forces, physical and emotional, traditional and unexpected. The series challenges our accepted impressions of the world around us.  For this series, the artist contorts with images that evoke anthropomorphic physical qualities and movement.  Pulling the reference from his daily life and childhood, Salvi re-envisions in unexpected contexts to challenge our perceptions of the objects in reality.  True to Salvi’s practice, these works are both familiar yet strange and evoke pause and contemplation from the viewer.

WHAT NOT TO WEAR ON A HORSE

Solo Show by Prashant Salvi

Nippon Gallery, Fort, Mumbai, presents What Not to Wear on a Horse, a solo exhibition by artist Prashant Salvi, curated by Abhijeet Gondkar.

Through his distinctive visual language, Salvi brings together humour, imagination and intriguing characters, inviting viewers into a world that is playful yet thought-provoking.

Preview: 18 August 2026 | 5 PM onwards

Exhibition continues: 18–29 August 2026

Gallery Timings: 3 PM – 7 PM

Nippon Gallery

Flora Fountain, Fort, Mumbai – 400 001

Curated by Abhijeet Gondkar

Come experience What Not to Wear on a Horse at Nippon Gallery.

#NipponGallery #NipponGalleryMumbai #FortMumbai #mumbaiartfestival  

 

Abhijeet Gondkar

August 2026, Mumbai

“FOUR VISIONS - ONE EXHIBITION” Art Exhibition by 4 renowned artists in Nehru Centre Art Gallery

Dr. D. N. Baraskar 

D. N. Baraskar’s photography discovers the extraordinary within the quiet rhythms of everyday life. His lens is drawn to the particular light of rural India—the glow of dusk over a village, a craftswoman completing her work, or boats returning beneath a changing sky. Rather than seeking spectacle, Baraskar observes with patience and reverence, revealing the dignity of labour, landscape, and human presence. 

His images possess a contemplative stillness, allowing ordinary moments to unfold naturally before the viewer. Working beyond the metropolitan gallery circuit, he brings an authentic, unhurried sensitivity to his subjects, transforming familiar scenes into evocative reflections on time, place, and memory.

Nitai Das

Nitai Das’s art emerges from India’s remarkable continuity between its epic past, living traditions, and rapidly changing present. Born in Ranir Bazaar, Tripura, and raised in a culturally rich environment, Das developed an artistic language deeply rooted in Indian heritage while remaining open to influences from the wider world. His education at Santiniketan and later professional journey with Doordarshan took him across different cultural landscapes, yet his connection with his roots remained strong.

In his recent works, mythology, spirituality, folklore, and contemporary life come together in compelling visual narratives. Images of Shiva, Ganesha, Lakshmi, Christ, Chaitanya, Pandavvani traditions, and even contemporary figures appear alongside farmers, performers, students, and travellers. Through these juxtapositions, Das explores love, conflict, faith, identity, and the complexities of modern existence.

His practice recalls the humanistic traditions of artists such as Jamini Roy, Gaganendranath Tagore, and Ramkinkar Baij. Like a modern-day patua of Tripura, Nitai Das transforms deeply local experiences into universal stories, creating art that remains authentic, rooted, and globally resonant.

Dr. Pralay Dutta 

Pralay Dutta works in a register entirely different from the figurative and photographic idioms around him at this show, his is the language of pure abstraction, built from architecture rather than anecdote. In his canvases, geometric planes of grey, white and charcoal collide with sudden eruptions of red, ochre and electric blue, as though a city had been dismantled into its constituent moods and reassembled without regard for gravity. There is something of the urban excavation in his method: blocks stacked and half erased, a horizon line broken by a black bar, colour pooling like memory in the crevices between forms.

Dutta's abstraction never entirely abandons structure, verticals and rectilinear shapes hold the composition together even as the paint itself seems to want to dissolve them. It is tempting to read in this tension something of the Indian city itself, perpetually under construction and demolition at once, its heat and dust rendered here in oxide reds and cool greys. Where the other artists in this show anchor themselves in figure and landscape, Dutta insists that emotion and place can be conveyed just as precisely through colour and form alone.

Subhash Roy 

Subhash Roy's paintings sit at the meeting point of figuration and dissolution, his subjects, usually women draped in soft fabric, emerge from and recede back into fields of wet, blended colour as if photographed mid exposure. In Unspoken Bonds, three women lean into each other, their faces softened almost to abstraction, the emotional weight of the painting carried less by expression than by proximity and posture, the unspoken bond of the title made visible simply through how close the bodies stand. In Nature's Embrace, the figure gives way almost entirely to landscape, human form and organic shape becoming indistinguishable, blues and ochres running into each other like tributaries.

Roy's technique, loose, atmospheric, willing to let the paint bleed past its own outlines, puts him closer to the lyrical abstractionists than to the hard edged colourists elsewhere in this exhibition. What holds his work together is intimacy: even at his most abstract, there is always a suggestion of touch, of bodies near each other, of feeling withheld just below the surface of the paint.

The participating artists intend to donate a portion of the proceeds from the sale of artworks in this exhibition towards the welfare and relief of the flood-affected people of Assam.

This show will be inaugurated on 1^st September 2026 at 5.30pm by Honourable Guests Shri. Rajendra Patil, President – The Bombay Art Society, Director - India Art Festival, Vinita Mirchandani, Owner of Studio 3 Gallery, Shri. Prakash Bal Joshi Eminent Artist & Chairman, Artists Centre Art Gallery, Shri. Prayag Shukla, Art Critic, Poet, Curator

 

 From: 1^st to 7^th September 2026

“FOUR VISIONS - ONE EXHIBITION”

Art Exhibition by 4 renowned artists - Nitai Das, Dr. D.N. Baraskar, Dr. Pralay Dutta, Subhash Roy

 

VENUE:

Nehru Centre Art Gallery

AC Gallery

Dr. Annie Besant Road

Worli, Mumbai 400018

Timing: 11am to 7pm

Contact: 9873058958 / 9560619825

“PRAVAH” Solo Show of Paintings By well-known artist Anjali Prabhakar in Jehangir Art Gallery

There is a flow within us that is rarely still. It moves quietly beneath everyday life—through memory, emotion, thought, and experience. We may not always notice it, but it shapes how we feel, how we respond, and ultimately, how we see the world. It is this inner movement that forms the starting point for Pravāh, a body of work by Anjali Prabhakar. Anjali’s practice has developed alongside a deep engagement with meditation and an awareness of the energy that exists within and around us. She does not approach the canvas with a finished image in mind. Often, there is simply a feeling, a colour, or an impulse that she wants to follow. The painting then becomes a way of staying with that feeling and seeing where it takes her.

Artist: Anjali Prabhakar

The most interesting aspect of her process is that the artist does not try to explain an emotion through the painting, nor does she try to give it a fixed form. Instead, she allows herself to work intuitively, responding to what is happening on the canvas. She allows these discoveries to happen rather than forcing the painting towards a predetermined conclusion.

Colour is perhaps where the energy of these paintings is felt most immediately. Anjali responds to colour instinctively, allowing it to carry the mood of the moment rather than assigning it a fixed meaning. The deep reds, blues, and luminous passages that recur through the works can feel intense, warm, quiet, or expansive, sometimes within the same painting. They draw us in before we have had the chance to make sense of them. In that sense, colour becomes more than what we see—it becomes something we feel. Meditation, on the other hand, has also taught her the value of stillness. For her, stillness is not a withdrawal from the world, but a way of becoming more attentive to what is happening within. It is in this quieter state that she finds the space to notice subtle shifts in feeling and energy, and to allow them to enter the work without forcing them into words or fixed forms.

Pravāh is Sanskrit for flow or current—it is ultimately a meeting place. It is about the things we carry within us and the ways they shift with time. It is about allowing rather than controlling, and about recognising that not everything we experience needs to be explained in order to be felt.

Pravāh, therefore, is that meeting point—a space between stillness and movement, between what is felt and what can be expressed, between the inner world and the canvas.

 

This show will be inaugurated on 31^st August 2026 at 4.30pm by Honourable Chief Guest Mrs. Nidhi Chaudhari, IAS, Director – NGMA, Mumbai

Special Guest – Dr. Kishor Ingle, Director, Directorate of Art, Maharashtra

Guests of Honor – Prof. Him Kumar Chatterjee, Vice Chancellor, Sir J.J.School of Art, Architecture & Design, Mumbai, Shri. Prayag Shukla, Art Critic, Poet, Fiction Writer, Curator, Shri. Rajendra Patil, President – The Bombay Art Society, Director - India Art Festival, Mrs. K.G. Menon, Secretary Jehangir Art Gallery, Shri. Praveen Upadhye, Artist, Founder Director, Gallery Pioneer New Delhi

 

Shraddha Purnaye

Art Researcher & Writer

 From 31st August to 6^th September 2026

“PRAVAH”

Solo Show of Paintings

By well-known artist 

Anjali Prabhakar

 

VENUE:

Jehangir Art Gallery

M.G. Road, Kala Ghoda, 

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 9425195496