देह, श्रम आणि संवेदनांचा चित्र अवकाश

चरणदास जाधव यांच्या चित्रांचे प्रदर्शन निपॉन आर्ट गॅलरी येथे भरले आहे. चरणदासचा विद्यार्थी असल्यापासूनचा कलाप्रवास मला जवळून माहीत आहे. त्याची कलानिर्मिती, चित्रांविषयीची आस्था आणि स्वतःच्या अनुभवविश्वाशी प्रामाणिक राहून चित्रांकडे पाहण्याची त्याची वृत्ती या सगळ्यांचा विचार करता, त्याचे हे प्रदर्शन आवर्जून पाहावे असे आहे.

चरणदास आपल्या सभोवतालच्या भवतालाकडे केवळ दृश्य म्हणून पाहत नाही, तर त्यामागील जीवनानुभवांचा आणि संवेदनांचा तो गांभीर्याने विचार करतो. त्याच्या जडणघडणीत रुजलेल्या ग्रामीण आणि आदिम संवेदना त्याच्या चित्रांना एक वेगळे परिमाण देतात. आपल्या मातीशी, माणसांशी आणि त्यांच्या जगण्याशी असलेले त्याचे नाते त्याच्या चित्रांमधून सातत्याने व्यक्त होत राहते.

त्याच्या चित्रांमध्ये मानवी देहाचा एक वेगळाच सलोखा जाणवतो. हा देह केवळ शरीररचनेचा विषय राहत नाही, तर तो अनुभवांचा, स्पर्शाचा, श्रमाचा आणि जगण्याच्या असंख्य खुणांचा वाहक बनतो. वस्त्राच्या आत असलेल्या देहाच्या अस्तित्वाचे भान हे त्याच्या चित्रांच्या सौंदर्याचे एक महत्त्वाचे गमक आहे. वस्त्र आणि देह यांच्यातील संबंध, देहाची लय, त्याचा स्पर्श आणि त्यातून जाणवणारे जीवन यांविषयीची त्याची संवेदनशीलता चित्रांना एक अंतर्गत आशय देते.

चरणदास चित्र कधीही केवळ सजवण्यासाठी काढत नाही. त्याच्यासाठी चित्र हे बाहेरील सौंदर्याची निर्मिती करण्याचे साधन नसून, अनुभवांच्या अंतरंगात प्रवेश करण्याचे साधन आहे. त्यामुळे त्याच्या चित्रांतील सौंदर्य हे वरवरच्या आकर्षणात नसून, विषयाशी असलेल्या त्याच्या भावनिक आणि वैचारिक नात्यातून आकाराला येते.

मानवी संवेदनांच्या अनेक गुपितांची त्याला जाणीव आहे. माणसाच्या जगण्यात दडलेले भावविश्व, त्याच्या देहबोलीतून व्यक्त होणारे अनुभव आणि शब्दांतून सहज व्यक्त न होणाऱ्या भावना तो आपल्या चित्रांमधून उलगडण्याचा प्रयत्न करतो. त्याच्या चित्रांकडे पाहताना जाणवते की, तो माणसाला केवळ एक दृश्यरूप म्हणून चित्रित करत नाही, तर त्याच्या अस्तित्वाचा आणि जगण्याचा शोध घेत असतो.

चरणदास करिता श्रमिकांचे जीवन हा विशेष आस्थेचा विषय आहे. श्रमातून आकाराला येणारे जीवन, श्रमिकांच्या वाट्याला येणाऱ्या वेदना, भय आणि त्यांच्या जगण्यातील सहजता यांविषयी त्याला असलेली आत्मीयता त्याच्या चित्रांमध्ये दिसून येते. या प्रदर्शनात त्याला भावलेले कामगार जीवन त्याने संवेदनशीलतेने अधोरेखित केले आहे. येथे श्रमिक केवळ चित्राचा विषय राहत नाहीत, त्यांच्या देहातून, हालचालींतून आणि अस्तित्वातून जीवनाचा एक व्यापक आशय व्यक्त होतो.

चरणदासच्या व्यक्तिमत्त्वात आणि चित्रनिर्मितीत एक प्रकारची नैसर्गिक सहजता आहे. तो जसा आहे, तसाच विचार करतो. स्वतःच्या अनुभवविश्वाशी विसंगत असलेले किंवा केवळ बाह्य प्रभावातून आलेले अनैसर्गिक बदल त्याला मान्य नाहीत. त्याच्या चित्रांमध्येही हीच प्रामाणिकता जाणवते. कोणत्याही कृत्रिम आवरणाचा आधार न घेता, आपल्या अनुभवांशी निष्ठावान राहून चित्रनिर्मिती करणे, हे त्याच्या कलाप्रवासाचे महत्त्वाचे वैशिष्ट्य आहे.

चरणदासच्या चित्रांकडे पाहताना त्याचा चित्रविषयाशी असलेला दीर्घ सहवास, सूक्ष्म निरीक्षण आणि चित्रनिर्मितीविषयीची आंतरिक ओढ जाणवते. तो आपल्या चित्रविषयाशी इतका सहजपणे एकरूप होतो की, त्याच्या अनुभवांचे आणि संवेदनांचे प्रतिबिंब चित्रांतून स्वाभाविकपणे उमटते. देह, त्याची ठेवण, हालचाली आणि त्यातून व्यक्त होणारे जगणे यांच्याशी त्याचे एक जवळचे नाते आहे. दृश्याच्या पलीकडे जाऊन त्यातील संवेदना टिपण्याची त्याची वृत्ती त्याच्या चित्रांना एक वेगळी आंतरिक लय देते. त्याच्या चित्रांतील हा जिवंतपणा कोणत्याही वरवरच्या कलात्मक आविष्कारातून आलेला नाही, तो त्याच्या जगण्याशी, अनुभवांशी आणि चित्रनिर्मितीच्या सातत्यपूर्ण ध्यासाशी जोडलेला आहे.

चरणदासच्या या प्रदर्शनाकडे पाहताना त्याच्या चित्रांतील देह, श्रम, स्पर्श आणि ग्रामीण-आदिम संवेदना यांचा परस्परसंबंध लक्षात घ्यायला हवा. कारण त्याच्या चित्रांचे महत्त्व केवळ चित्रित केलेल्या विषयांमध्ये नसून, त्या विषवस्तूकडे पाहण्याच्या त्याच्या स्वतंत्र आणि आस्थापूर्ण दृष्टिकोनात आहे.

चरणदास जाधव यांचे हे प्रदर्शन म्हणजे माणसाच्या देह, श्रम आणि जगण्याच्या अनुभवांतून व्यक्त होणाऱ्या तरल संवेदनांची अभिव्यक्ती शोध.

चरणदासच्या कलाप्रवासातील हा टप्पा अनुभवण्यासाठी आणि त्याच्या चित्रांशी संवाद साधण्यासाठी हे प्रदर्शन सर्वांनी आवर्जून पाहावे, असे मला मनापासून वाटते.

चरणदास जाधव यांना या प्रदर्शनासाठी मनःपूर्वक शुभेच्छा!!!

चरणदास जाधव यांच्या चित्रांना अर्थपूर्ण अवकाश उपलब्ध करून देणाऱ्या क्युरेटर स्नेहल तांबुलवाडीकर / खेडकर आणि निपॉन आर्ट गॅलरीचे संचालक प्रेमचंद ताठी यांचे मनःपूर्वक अभिनंदन! कलावंत आणि रसिक यांच्यात समृद्ध कलासंवाद घडवून आणण्याच्या त्यांच्या प्रयत्नांना हार्दिक शुभेच्छा!!!

डॉ. गणेश तरतरे

अधिष्ठाता,

स्कूल ऑफ फाईन अॅड अप्लाईड आर्ट,

एमआयटी विद्यापीठ, पुणे

Labour Diary Array of thoughts of Charan Jadhav Drawings| Paintings | Sculptures

There are bodies that build, and bodies that desire. Bodies that carry, lift, break, touch, embrace, endure. In Charan Jadhav’s Labour Diary, these are not separate bodies. They are one and the same—vulnerable, desiring, exhausted, intimate, possessing ceaseless capacities.

Artist: Charandas Jadhav

For a long time now Charan’s practice has been obsessed with the human body. What began as a very interesting exploration of mutilated animals transcended to violated flesh. The act of violation further led him to psychosexual turmoil of the physical body taking him to the not so gentle lanes of flesh trade. For years Charan wandered in the red light areas in and around Bombay documenting and reflecting on the lives of the women practicing prostitution. His line expressed the complex emotional retaliation of their lives he felt for them, turning his works to an odd combination of disgust, pity and erotica simultaneously. What we see happening in this show parabolic slide to looking at bodies in turmoil, as Charan has moved from one form of physical labour to another. While he looked as sex workers and their consumers as bodies in vigour and decay, he continues to do the same with labour on site not very different. The passion here is much more raw, as loneliness and distance acting as triggers for active erotic imagination.

Charan here presents not only the world of labour, he is very much part of it- construction sites, workers, tools, raw materials and structures in the process of becoming. His labourers are not distant figures observed from the outside. Their bodies hold the marks of work—the weight of what is carried, the repetition of gesture, the fatigue of the everyday. Their hands become both instruments and witnesses. They build the world, even as the world leaves its traces upon them. The tools transform into memories of pleasure and objects of desire as an innocent tape or digger surreally become genitals.

But labour, in Jadhav’s universe, does not end at the construction site.

Nippon Gallery Mumbai

His very delicate, yet direct erotic drawings are another kind of physical encounter: the private, tender and erotic labour of intimacy. Here, the body is no longer seen only as a body that works, but as a body that longs, touches, gives and receives. These drawings carry the vulnerability of allowing the intimate to become visible. Desire is treated neither as spectacle nor as confession, but as another deeply human form of making—a coming together from which something new might emerge.

It is this movement between construction and creation that gives the works their emotional force. Jadhav’s tools begin to mutate into sexual and reproductive forms. The hammer, pipe, drill and other implements of construction acquire the contours of flesh and anatomy. The objects through which we build our external world begin to resemble the organs through which we create life. The distinction between tool and body, production and reproduction, begins to tremble.

In these transformations, the construction site becomes strangely intimate. Metal begins to feel bodily; flesh begins to feel architectural. The language of labour slips into the language of desire, and the act of building becomes inseparable from the impulse to create, connect and continue.

Perhaps this is where the diary becomes most personal. Beneath the images of workers and tools lies a meditation on what it means to spend oneself in the world—to give one’s strength, one’s time, one’s body, and sometimes one’s love. Every structure is built through an expenditure of the body. Every relationship asks for another kind of labour. Every life carries the evidence of what has been given to it.

Labour Diary is therefore not simply a record of work. It is a diary of the body itself: its labour and its longing, its exhaustion and its tenderness, its capacity to build and its need to be held. What remains is the trace of the human hand—on stone, on metal, on another body, and finally, on life itself.

 

 

Snehal Tambulwadikar-Khedkar

Art Historian, Artist, Academician

Curated by Snehal Tambulwadikar

Labour Diary | Solo Exhibition

Nippon Gallery is pleased to present “Labour Diary”, a solo exhibition by Charandas Jadhav, bringing together an array of thoughts expressed through drawings, paintings and sculptures.

The exhibition reflects on labour, everyday life, observation and the human experience, presenting the artist’s personal visual language through a diverse body of work.

📅 Preview: 13 October 2026

🕔 5:00 PM onwards

📅 Exhibition: 13–17 October 2026

🕒 3:00 PM – 7:00 PM

📍 Nippon Gallery

Flora Fountain, Fort, Mumbai – 400001

“CONTINUUM” A Solo Art Exhibition by well-known artist Dr. Shefali Samir Bhujbal in Jehangir Art Gallery

CONTINUUM: From Chaos to Calmness at Jehangir Art Gallery Mumbai 

Artist, author and researcher Dr. Shefali Samir Bhujbal presents “CONTINUUM”, a Solo art exhibition exploring the movement from emotional chaos towards calmness, at Jehangir Art Gallery, Kala Ghoda, Mumbai, from 13th to 19th October 2026. The exhibition will be open daily from 11:00 AM to 7:00 PM, with the inauguration scheduled for 13 October at 5:00 PM. 

Dr. Shefali Samir Bhujbal

Through layered colour, textured surfaces and intuitive gestures, “CONTINUUM” invites viewers to encounter emotions beyond words. Its visual journey begins with dense, energetic compositions and gradually moves towards quieter forms, expansive colour fields and reflective spaces. Geometrical designs and abstract structures create varied encounters with movement, balance and stillness. 

 

Rooted in Indian culture, nature and spirituality, Dr. Bhujbal’s multidisciplinary practice connects painting, literature and scholarly inquiry. Her Bharatanatyam training informs her sensitivity to rhythm, gesture and storytelling. 

 

With a background in Botany, a PhD and over three decades of corporate, educational and professional experience, she is pursuing further doctoral research on spirituality in organisational growth.

 

 Her artistic engagements include group exhibitions in World Art Dubai, the 40th International Exhibition in Samara, Russia, Art Unleashed in Dubai, Jehangir Art Gallery and India Art Festival, Hyderabad to name a few.

 

 Her solo exhibitions include Annavarnam and Nisargayan, alongside live painting at the NCPA and Kala Ghoda Arts Festival.

 

Her books include Infinite Insight: A Journey of 50 Virtues, Amrutacha Ghanu, a Marathi photo biography of Hon. Chhagan Bhujbal, and Samudra Manthan. Featured in the Indian Contemporary Art Journal 2025–26, she has received the Tejaswini Award, Lokmat ICON, Jeevan Gaurav Awards and Suvichar Gaurav Award. 

 

CONTINUUM welcomes art enthusiasts and curious visitors to pause, reflect and discover their own passage from intensity to inner quiet.

 

Together, these works encourage visitors to slow down and look within themselves. 

Website: www.drshefalibhujbal.com Art Instagram: @shefalisart

From: 13th to 19th October 2026

“CONTINUUM”

A Solo Art Exhibition by well-known artist Dr. Shefali Samir Bhujbal 

 

VENUE:

Jehangir Art Gallery

M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.drshefalibhujbal.com

Instagram: @dr.shefalibhujbal | @shefalisart

Rsvp/enquiry : +91 98238 70276

 

ATHANG A Journey Through Water, Nature and the Inner World

ATHANG by artist Vinod Kore is an artistic journey through water, nature and the inner world of human experience.

The journey begins with Kore’s evocative paintings of the ghats of Varanasi. The Ganga, ancient ghats, boats, light and reflections have been a constant source of inspiration for the artist. Through these works, he seeks to capture not merely the physical beauty of Varanasi, but also its profound sense of peace, spirituality and timeless atmosphere. The ghats become a metaphorical space for introspection, taking the artist from the visible to the invisible and from the known to the unknown.

Artist: Vinod Kore

From the spiritual landscape of the Ganga, Kore’s artistic journey moves towards the Konkan coast, where the sea, waves and traditional boats create an entirely different visual and emotional experience. His boats symbolise life, hard work, journeys and hope, while also reflecting the enduring relationship between human beings and nature.

Nature remains central to Kore’s artistic vocabulary. Water, sky, sea, trees, light and shadows are not merely subjects in his paintings; they become expressive elements through which he communicates emotions, memories and experiences.

Kore works across diverse mediums, including watercolour, acrylic and charcoal. Each medium offers him a distinct visual language—watercolour allows him to explore softness, transparency and fluidity; acrylic provides opportunities to build layers, colour and texture; while charcoal enables him to express form, light and shadow through lines and tonal variations.

For Kore, technique goes beyond artistic skill. It is a means of translating experiences and emotions into visual form.

ATHANG is therefore more than an exhibition title. It represents Vinod Kore’s continuing journey—from water to nature, from observation to emotion, and ultimately, from the outer world to the inner self.

The exhibition will be inaugurated on Monday, 28 September 2026, at 5:00 PM, in the presence of distinguished guests: Hon. Shri Mangal Prabhat Lodha 

Minister of Skill Development, Employment, Entrepreneurship and innovation, Smt. Nidhi Chaudhary, IAS

Mumbai,

Smt. Sapna Kar 

Founder, Burgundy Art Gallery

  "ATHANG" 

An Artistic Journey from waves to ghats

Solo Show of Paintings  By Well-known artist Vinod Kore 

VENUE : Jehangir Art Gallery 

M. G. Road, Kala F

Ghoda, Mumbai 400001

Timing : 11am to 7pm

Contact: +91 97675 64747

Anil Rawat: When an Ancient Image Enters the Present

 Every image arrives carrying a history.

 

This is especially true of Hanuman. Long before Anil Rawat makes his first mark, the figure already exists in temple sculpture, calendar prints, popular imagery, household shrines and collective memory. The challenge for a contemporary artist is therefore not simply how to depict Hanuman, but how to make us see him again. Rawat’s achievement lies precisely here.

 

A gold medallist from Delhi College of Art, he brings to his practice decades of visual experience, including a distinguished and highly awarded career in advertising. His works have been exhibited at IGNCA, Ravindra Bhawan and India Habitat Centre, and are held in private collections in India, Singapore, the United Kingdom and the United States. His practice now spans digital, large-format giclée prints, drawings and sculpture.

 

Rawat’s images are striking because they disturb recognition. We know the figure before us, yet the conventional image has been unsettled. Bodies emerge through unexpected contours. Colour resists natural description. Faces may recede while posture remains. Familiar attributes survive, but illustration gives way to suggestion.

 

The result is neither traditional devotional painting nor digital spectacle. It is a fresh visual language positioned between memory and invention. This is particularly significant because Rawat works digitally. The mouse, a device associated with speed and utility, becomes an instrument for images concerned with something ancient and inward. A contemporary medium carries an inherited spiritual imagination.

 

Yet Rawat is not trying to recreate a sacred past. He asks what that inheritance might mean now. Devotion, courage, service, humility and selflessness become less the qualities of a distant deity than possibilities within ordinary human beings.

 

Curator and artist Samar Jodha captures this relationship between image and spectator: “These are not paintings of a god. They are paintings of what lives inside you.”

Artist:  Anil Rawat

That may be the clearest way into Rawat’s work. He does not modernise Hanuman by making the figure fashionable. He does something more difficult: he takes an image we believe we already understand and makes that certainty unstable.

 

We begin by looking at Hanuman. Eventually, Rawat turns the act of looking back upon us.

“LIMINAL LANDSCAPES” Art Exhibition by veteran artist YUSUF in TAO ART GALLERY

Through his practice of decades, Yusuf has mastered the subtle art of abstraction using his quintessential style of linear drawing, coupled with forms and colors of depth. While the visual quality of his work has remained recognizable, it has steadily shown an evolution of his mind and internal state of being. The forms that have continuously developed through each body of work, takes one through the trance-like state of the artist’ s own recollections, memories and fragments of existence that traipse through the linear, giving glimpses of the other side to the viewer.

Artist: Yusuf

His vast canvases have order but simultaneously weave in disruption, like the still body of the subtle mind that is prone to being activated with each conscious experience. Though the art depicts abstract landscapes that seem external and intangible, they are actually mirroring the internal we all contain, cavernous and palpable, rippling with interspaced sensations and alive with rhythm. This is the liminal point that combines artistic practice with artistic experience. 

The art eventually becomes testament to the journey of balance that life asks all of us to maneuver. The minimalist technique of his strokes, the pointillism conveying fragmentation, the shapes that look unfamiliar, still manage to resonate something primal. It is the instinct that we all carry within us: to respond to symmetry, to mimic movement and to desire ultimate merger.

 

Text by Sanjana Shah

 From: 20^th August to 25^th September 2026

“LIMINAL LANDSCAPES”

A Journey Within

Art Exhibition by veteran artist YUSUF

 

VENUE:

TAO ART GALLERY

165, The View, Dr.Annie Besant Road,

Worli, Mumbai 400018

Daily 11am to 6.30pm

Contact: (022) 35741809 I info@taoartgallery.com

"From the Visible to the Invisible" An Exhibition of Paintings By Annpurna Shukla in Jehangir Art Gallery

Annpurna Shukla was born on the 1st of September, 1964, and has spent the better part of her life in Jaipur, a city whose light, colour, and centuries-old visual traditions seem to have settled somewhere deep in her practice. She didn't arrive at art as a hobby that grew into a career; she built an entire life's architecture around it, as a painter, a teacher, a researcher, and eventually, a chronicler of the very traditions she grew up around. Her early recognition came through the circuit familiar to so many serious Indian artists: state exhibitions, teachers' art shows, regional Lalit Kala Akademi platforms.

 Annpurna Shukla

Her current work tells the story of narrowing, and that's really the more interesting story. This September, that narrowing arrives at one of India's most storied art addresses, the Jehangir Art Gallery in Mumbai, with a solo show called Drishya Se Adrishya, "From the Visible to the Invisible." Opening on the 14th of September and running through the 20th at Hirji Gallery inside Jehangir Art Gallery, the show is framed by Shukla not as a landscape show but as a record of her own maturing eye. In her own words, an artist's early years are usually spent chasing clarity, trying to render the visible world with more and more precision. But somewhere along the way, if the practice deepens, the opposite instinct takes over. Detail starts falling away. What's left isn't less, exactly, it's more distilled. A few lines, a few colours, a gesture, and somehow the whole feeling of a place survives the reduction.

For Shukla, that's not a stylistic choice so much as a spiritual one. She describes it as a movement from the external toward the internal, from what the eye records toward the quieter consciousness that she feels pulsing behind everything visible. Nature, in this telling, was never really the subject. It was the doorway. The show builds toward this idea in its final stretch, in a series of still-life paintings of potted flowers. Instead of a sprawling landscape, the natural world is gathered into a contained, quiet space, and in that containment, Shukla finds a kind of wholeness that the wide view couldn't offer. Many forms, many directions, folding into one harmonious presence. 

Walk into Hirji Gallery this September and you'll find work that rewards slowness: watercolours where mountains soften into memory, and canvases where the density of brushwork, closer up, dissolves into abstraction, all cream, ochre and indigo, before resolving again into something like a forest floor or a tangle of undergrowth. It's the kind of painting that changes depending on how close you stand to it, which feels like the whole point. Six decades in, Annpurna Shukla isn't done chasing precision, she's just decided precision might live somewhere other than detail. *Drishya Se Adrishya* is less an exhibition of paintings than an invitation to look the way she's learned to: past the visible, toward whatever it's quietly pointing at. 

From: 14th to 20th September 2026 - From the Visible to the Invisible

An Exhibition of Paintings By  Annpurna Shukla

VENUE: Jehangir Art Gallery

Hirji Gallery, M.G. Road, Kala Ghoda, Mumbai 400001 -Timing: 11am to 7pm

Contact: +91 9414440030

“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