“Between Surface And Depth" An Exhibition of Paintings By Bharti Verma, Ruchi Chadha in Jehangir Art Gallery

Bharti Verma

 

Bharti’s figurative practice unfolds as a quiet, resonant inquiry into the emotional life of the human body. Her paintings are not portraits of individuals but threshold spaces where the figure becomes a vessel for memory, vulnerability, endurance, and inward reflection. Faces are often veiled or absent, and gender dissolves into ambiguity, allowing the body to stand for a shared human presence rather than a fixed identity. The personal opens into the collective, and the figure becomes a bridge between private emotion and universal experience.

Artist - Bharti Verma

 

Surface is central to her language. Scraped, layered, and washed grounds recall ancient, weathered walls marked by human touch, evoking the primal lineage of cave painting as witness to existence. Figures seem to emerge from and recede into these terrains, shaped by memory, erosion, and return. In works with multiple bodies, forms overlap and merge, suggesting shared emotional states, intimacy, shelter, burden, and co-existence. Gesture becomes an emotional syntax: bowed backs, folded limbs, and weighted postures carry feeling.

 

Rendered in restrained greys, ash, umber, and muted blues, her palette creates a hushed, contemplative atmosphere. These works meditate on the body as a psychic landscape quietly resilient, grounded in acceptance rather than retreat.

 

 

Ruchi Chadha

 

Ruchi Chadha is a Delhi-based visual artist and a graduate of the College of Art, New Delhi. With over three decades of dedicated practice, she draws profound inspiration from nature’s quiet strength, resilience, and transformative power. A painter and ceramist, Ruchi moves fluidly across mediums, expressing organic rhythms and evolving forms that reflect her deep engagement with the natural world.

 

In this exhibition, she presents her ongoing series of lotus paintings from a distinctive underwater perspective. By shifting the viewer’s gaze beneath the surface, she reveals the hidden ecosystem that sustains the lotus—murky waters, drifting weeds, and subtle aquatic life. Water becomes both environment and metaphor, its ripples, reflections, and diffused light creating a sense of depth, movement, and introspection.

 

Delicate leaves and slender stems ascend through shadow toward illumination, symbolizing hope, courage, and perseverance. Rooted in silt yet reaching for light, the lotus emerges as a powerful emblem of resilience and renewal. Through layered textures and tonal contrasts, Ruchi invites viewers into an immersive, contemplative space. Her works evoke stillness and inner strength, leaving a lasting impression of harmony, endurance, and the quiet triumph inherent in nature’s cycles.

 

This show will be inaugurated on 3^rd March 2026 at 5.30pm by Hon.Guests Ms. Nidhi Choudhari, Director National Gallery of Modern Art, Mumbai, Ms Sapna Kar(Director, Curators.art), Ms Rajneeta  Kewalramani(Director, thecurators.art), Mr. Rajendra Patil(Founder, India Art Festival).

 From: 3^rd to 9^th March 2026

“Between Surface And Depth"

The Inner Landscapes

An Exhibition of Paintings

By 

Well-known artists - Bharti Verma, Ruchi Chadha

 

VENUE:

Jehangir Art Gallery

AC Gallery No. 2

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm.

Contact: +91 9899986042, +91 9599944430

“ATHAHA” Solo Show of Paintings by well-known artist Alka Bhrushundi in Jehangir Art Gallery

Alka Bhrushundi’s ‘Athaha’ does not merely contemplate infinity; it constructs it.

In her works, blue is not a backdrop to devotion but a spatial field in which matter, energy, and consciousness appear suspended. The paintings move between vortex and void, between cellular intricacy and cosmic scale. Spirals open like primordial galaxies. Orb-like forms hover as if embryonic worlds. Vein-like calligraphic tracings pulse across surfaces, suggesting neural networks, river deltas, or unseen cosmological diagrams. The language is abstract, yet unmistakably organic.

Artist: Alka Bhrushundi

The artist’s earlier engagement with devotional figuration has not disappeared; it has evolved. What once required an image now unfolds as vibration. The divine is no longer personified but diffused, circulating through colour, texture, and atmosphere. Blue dominates, but it is not singular. It deepens into indigo, fractures with rusted orange, glows with quiet gold. It carries both immersion and combustion.

There is a compelling tension in these works: density and lightness coexist. Feathers drift across turbulent grounds. Gold fissures cut through planetary masses. Mist veils intricate structures beneath. The compositions feel simultaneously microcosmic and macrocosmic; as if we are witnessing the inside of a cell and the birth of a universe in the same breath.

‘Athaha’ proposes infinity not as escape, but as interior expansion. These paintings ask the viewer to recalibrate scale, to consider that vastness may reside within the smallest pulse of awareness. In an era of distraction and speed, this work insists on sustained looking. It resists narration and instead offers immersion.

Infinity here is not decorative mysticism. It is a disciplined exploration of energy, stillness, and threshold. Stand before these works long enough, and the boundary between outer cosmos and inner landscape begins to thin.

The Exhibition will be inaugurated on 3^rd March 2026 at 5 pm by Honourable Guests Shri Rajendra Patil (President -The Bombay Art Society, Founder – India Art Festival), Prof. Dr. Ganesh Tartare(Sir, J.J. School of Art, Mumbai), Shri Rishiraj Sethi (CA, CFA; Director – Aura Art eConnect Pvt.Ltd)

 “From: 3^rd to 9^th March 2026

“ATHAHA”

Beyond the Boundaries

Solo Show of Paintings by well-known artist Alka Bhrushundi

 

VENUE:

Jehangir Art Gallery

AC Gallery -1,

161-B, M. G. Road, Kala Ghoda,

Mumbai 400001

Timing: 11am to 7pm.

Contact: +91 7703880130        

Kivutar : Rupture from Rapture Sejal Patil Exhibition at Nippon Art Gallery From 24 February 2026

Rupture from Rapture emerges from lived experience shaped by chronic illness, delayed diagnosis, and prolonged encounters with medical neglect. Rooted in Sejal Patil’s experience of endometriosis, the exhibition unfolds across painting, charcoal drawing, and installation, positioning the body as both subject and site. Pain is approached not as spectacle, but as accumulated knowledge—endured, internalised, and gradually transformed through artistic process.

Artist: Sejal Patil 

At the centre of the exhibition is the medicalised body and the systemic dismissal of women’s pain. Years of misdiagnosis, invasive procedures, and emotional invalidation inform a visual language marked by fragmentation, internal blockage, and repetition. Rather than depicting clinical events directly, the works absorb their psychological and physical aftermath. The body appears disrupted and overwhelmed, resisting clinical objectification and insisting on embodiment as lived reality rather than abstract system.

 Diptych Paintings: Inflammation, Closure, and Vulnerability 

The diptych paintings form a central body of work within the exhibition. Developed during periods of physical immobility and prolonged confinement, these works emerge from a deeply vulnerable state. Bedridden and isolated, the artist turned inward, using painting as a means of self-closure and survival. Form plays a critical role in these works. The recurring central shape draws upon the vaginal form, not as explicit representation but as an embodied reference to pain, inflammation, and endurance. The figured body, shown in a squatting posture, conveys states of physical distress, vulnerability, and numbness. Presented as a diptych, the body is distributed across two planes, suggesting division and rupture, and resisting containment within a single image. Vulnerability is not concealed or softened; it is integral to the work’s visual and emotional structure. 

Charcoal Drawings: Confusion and Internal States 

The charcoal drawings operate as a parallel, more immediate register. Executed intuitively, these works emerge from states of confusion, numbness, and internal chaos. Scribbled marks evolve into bodily forms, echoing sensations of inflammation and internal pressure associated with endometriosis. 

Here, the body is not externalised but mapped internally. Lines overlap, compress, and entangle, reflecting moments of mental overwhelm and physical immobility. The drawings function as visual journals, capturing fleeting psychological states rather than resolved compositions. Their rawness resists refinement, preserving the instability of lived experience. 

Stitched Works: Repair, Resistance, and Material Memory

Thread and fabric introduce a materially distinct yet conceptually linked body of work. These stitched surfaces bring the language of repair, care, and persistence into the exhibition. Stitching operates both as action and metaphor—binding, holding, and mending without erasing damage. The act of stitching becomes a slow, deliberate counterpoint to the urgency of drawing and painting. Fabric, often associated with domestic labour and femininity, carries bodily memory. Threads trace wounds rather than conceal them, acknowledging pain while asserting endurance. These works reflect an attempt to hold the body together when it feels internally ruptured. 

Process as Survival Across all media, process remains central. The works are not outcomes of conceptual planning but emerge from necessity. Painting, drawing, and stitching become therapeutic acts—ways of coping, enduring, and reclaiming agency within a body marked by pain. In this context, vulnerability is not weakness but a mode of truth. 

Rupture from Rapture holds intensity alongside fragility. It does not offer resolution or recovery narratives. Instead, it makes space for witnessing—allowing pain, care, and resilience to coexist without hierarchy. 

Review By Mukur Biswas

KIVUTAR - Solo Show by Sejal Patil

The work of Sejal Patil unfolds at the intersection of body, memory, and lived experience. Rooted in deeply personal realities, her practice transforms pain into a visual language that is both intimate and universal. In her paintings, the body is not merely a physical form but a site of endurance, vulnerability, resistance, and transformation.

Emerging from prolonged illness and the experience of being unheard within medical spaces, her work reflects a profound awareness of how women’s bodies are often observed, interpreted, and regulated — yet rarely fully listened to. What might appear as fragility in her imagery reveals itself instead as strength: a quiet but persistent act of reclaiming voice, presence, and agency.

Artist: Sejal Patil 

Each canvas becomes a space where interior experiences take form — where silence finds texture, and emotional memory becomes visible. Her practice does not simply narrate suffering; it reshapes it, allowing moments of confinement to open into reflection, release, and healing. The personal, in her work, becomes a shared emotional landscape.

This exhibition invites viewers into a space of attentiveness and care — one that encourages stillness, empathy, and introspection. To encounter these works is to be reminded that the body remembers, the body speaks, and through art, it can also begin to mend.

— Curated by Heena Ravindra Uchhe

क्युरेटर नोट

सेजल पाटील यांच्या कलाकृती शरीर, स्मृती आणि जगलेल्या अनुभवांच्या संगमातून उलगडतात. अतिशय वैयक्तिक वास्तवातून उगवलेली त्यांची कलाप्रक्रिया वेदनेचं रूपांतर एका अशा दृश्यभाषेत करते जी एकाच वेळी अंतर्मुख आणि सार्वत्रिक आहे. त्यांच्या चित्रांमध्ये शरीर हे केवळ भौतिक स्वरूप नसून सहनशक्ती, असुरक्षितता, प्रतिकार आणि रूपांतर यांचं जिवंत क्षेत्र बनतं.

दीर्घकाळाच्या आजारपणातून आणि वैद्यकीय व्यवस्थेत स्वतःचा आवाज न ऐकला जाण्याच्या अनुभवातून त्यांच्या कामात स्त्रियांच्या शरीरांकडे पाहण्याच्या दृष्टिकोनाची सखोल जाणीव दिसून येते — जिथे शरीराचं निरीक्षण, विश्लेषण आणि नियंत्रण केलं जातं, पण त्याला पूर्णपणे ऐकलं जात नाही. त्यांच्या प्रतिमांमध्ये दिसणारी नाजूकता ही प्रत्यक्षात एक शांत पण ठाम सामर्थ्य आहे — स्वतःचा आवाज, अस्तित्व आणि अधिकार पुन्हा मिळवण्याची प्रक्रिया.

प्रत्येक कॅनव्हास एक अशी जागा बनतो जिथे अंतर्मनातील अनुभव आकार घेतात — जिथे मौनाला पोत मिळतो आणि भावनिक स्मृती दृश्यरूप धारण करतात. त्यांची कला केवळ वेदनेची नोंद करत नाही; ती तिचं पुनर्रचन करते, बंदिस्त क्षणांना चिंतन, मुक्तता आणि उपचाराच्या दिशेने उघडते. वैयक्तिक अनुभव त्यांच्या कामात सामूहिक भावविश्वात रूपांतरित होतो.

हे प्रदर्शन प्रेक्षकाला संवेदनशीलता आणि सजगतेच्या अशा जागेत आमंत्रित करतं — जिथे थांबणं, जाणवणं आणि अंतर्मुख होणं महत्त्वाचं ठरतं. या कलाकृतींशी संवाद साधताना आपल्याला जाणवतं — शरीर स्मरण ठेवतं, शरीर बोलतं, आणि कलेच्या माध्यमातून ते हळूहळू स्वतःला पुन्हा सावरण्यास सुरुवात करतं.

— क्युरेटर: Heena Ravindra Uchhe

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KIVUTAR

Solo Show by Sejal Patil

You are cordially invited to an evocative exhibition of painting and sculpture, where form, colour, and emotion come together in powerful harmony.

Preview: 24th February

5:30 PM onwards

Nippon Gallery, Fort, Mumbai

Exhibition continues till 28th February 2026

Daily: 3 PM – 7 PM

Curated by Heena

We look forward to welcoming you for an evening of art and conversations.

Hashtags

#Kivutar

#SejalPatil

#SoloShow

#ArtExhibitionMumbai

#NipponGallery

KIVUTAR - Solo Show by Sejal Patil

 .

KIVUTAR

Solo Show by Sejal Patil 

You are cordially invited to an evocative exhibition of painting and sculpture, where form, colour, and emotion come together in powerful harmony.

🗓 Preview: 24th February

⏰ 5:30 PM onwards

📍 Nippon Gallery, Fort, Mumbai

🗓 Exhibition continues till 28th February 2026

🕒 Daily: 3 PM – 7 PM

Curated by Heena

We look forward to welcoming you for an evening of art and conversations.

Mapping the Invisible Priyanka R. Guralle

Mapping the Invisible brings together a body of work in which Priyanka R. Guralle uses line as a way of thinking, sensing, and understanding the world. At the heart of her practice is a simple but persistent question: what can a line hold? For the artist, line is not merely a formal element but a living structure capable of carrying energy, movement, and connection. Through line, she explores non-linearity—how simple, repeated gestures can generate complex forms, systems, and relationships.

Artist: Priyanka R. Guralle

Working primarily with acrylics, Priyanka builds her surfaces through repeated and intuitive gestures. Lines intersect, overlap, break, converge, and reconnect, gradually forming dense networks that feel organic rather than planned. These linear accumulations give rise to ovoid, seed-like, leaf-inspired, and segmented forms that appear to grow, compress, or unfold within the picture space. The forms suggest processes of emergence, containment, and transition, emphasizing becoming over fixed imagery or representation.

Her engagement with line is closely tied to observation of both natural and human systems. She draws intuitive connections between the lines she paints and the structures she encounters in life, including the umbilical cord linking a feet's to a mother’s womb, the branching of roots, stems, and leaves, and what she refers to as celestial lines. These references are not illustrated literally but translated into abstract networks that echo interconnectedness across different scales.

The works do not offer a linear narrative. Instead, they invite time and sustained attention. A restrained palette, layered surfaces, and subtle variations in density slow the viewer down, allowing rhythm, repetition, and spatial tension to guide the experience. Meaning unfolds gradually through looking and re-looking, encouraging a meditative engagement.

In Mapping the Invisible, abstraction becomes a means of reflection rather than depiction. Line functions as a connective force - linking bodies, natural systems, and larger cosmic orders. What remains unseen is not absent but quietly present, waiting to be sensed.

Text by

Mukur Biswas

Feb 2026

“Mapping the Invisible” — a solo exhibition by Priyanka Guralle.

Step into a visual journey that explores unseen emotions, layered memories, and abstract terrains of the inner self. Through texture, movement, and form, the works invite you to discover what lies beyond the visible.

Preview: 17th February | 5:30 pm onwards

Exhibition continues till: 21st February 2026

Daily: 3 pm to 7 pm

Nippon Gallery

30/32, 2nd Floor, Deval Chambers

Nana Bhai Lane, Flora Fountain

Fort, Mumbai – 400001

“Echoes of Silence” Art Exhibition by Hemant Dhane, Vikas Malhara at Jehangir Art Gallery

A Group Exhibition of Paintings by two contemporary renowned artists - Hemant Dhane, Vikas Malhara will be displayed in Jehangir Art Gallery, Kala Ghoda, Mumbai from 17th to 23rd February 2026 Between 11am to 7pm. 

Artist: Vikas Malhara

Vikas Malhara operates within a restrained, inward abstraction where form appears only as a trace and colour functions as a carrier of time. The paintings unfold slowly, built from translucent layers of greys, blues, blacks, and earthen whites, creating surfaces that feel weathered rather than composed. Nothing is declared outright; instead, structures emerge hesitantly, as if remembered rather than invented.

Horizontal bands, softened blocks, and interrupted planes suggest landscapes without geography; psychic terrains shaped by pause, erosion, and silence. Malhara’s brushwork avoids emphasis; marks blur into one another, allowing edges to dissolve. This deliberate refusal of sharp definition creates a sense of suspended movement, where forms seem to hover between appearing and disappearing. Blacks carry weight but not aggression, functioning more like anchors of gravity than gestures of dominance.

What distinguishes these works is their temporality. They appear less painted than settled, as if the surface has absorbed breath, hesitation, and repetition over time. The paintings do not resolve; they remain open, incomplete, and quietly receptive. In a visual culture driven by immediacy and assertion, Malhara’s works insist on slowness. They ask the viewer to linger, to inhabit uncertainty, and to experience abstraction not as an idea, but as a state of being.

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Artist: Hemant Dhane

In his works, Hemant Dhane pares abstraction down to its most disciplined, inward essentials. Colour is not applied; it is settled. Greens hover like atmospheric fields, reds burn without aggression, and yellows appear as brief, almost ethical interruptions. The surfaces hold a soft grain, suggesting repeated acts of layering, erasure, and restraint rather than expressive excess.

Dhane’s compositions resist centrality. Vertical fissures, muted blocks, and barely-there geometries behave like pauses in thought; structures that emerge only to dissolve back into silence. There is a strong sense of held breath: nothing spills, nothing insists. Even the most saturated reds feel meditative rather than dramatic, as if heat has been absorbed and disciplined by time.

What is striking is the balance between control and vulnerability. These paintings do not perform abstraction; they inhabit it. They ask the viewer to slow down, to register colour as duration and form as residue. The result is a quiet, contemplative abstraction where perception itself becomes the subject.

 From: 17th to 23rd February 2026

“Echoes of Silence” The Dual Art Exhibition by Contemporary Renowned Artists – Hemant Dhane, Vikas Malhara

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

Timing: 11am to 7pm

Contact: +91 8329932837, +91 9422775921       

Between Inner Silence and Shared Spaces - Text by Mukur Biswas

Nipa A. Modi

Nipa A. Modi's practice is grounded in observation, social experience, and spatial awareness. With formal training across painting, printmaking, photography, and sculpture, her work demonstrates a strong command of figure, structure, and material. Her practice engages directly with the external world—people, environments, and everyday life. Her paintings frequently depict women and children within domestic or communal settings. These figures are not idealized; instead, they are presented with dignity, warmth, and emotional clarity. Narrative is present but understated, often capturing ordinary moments that speak to broader themes of care, labour, resilience, and social belonging.

A defining feature of Modi's work is her engagement with architecture and pattern. In series such as Ranakpur Whispers, lattice structures and geometric motifs directly reference the carved stone screens and ornamental rhythms of the Ranakpur heritage site. These patterns are not merely decorative; they function as spatial frameworks that both contain and reveal the figures within.

Her sculptural practice—particularly bronze scrap sculptures—extends these concerns into three dimensions. Simplified, elongated human forms emphasize gesture and relationship rather than anatomical realism. Material reuse and handcrafted assembly underscore themes of continuity, adaptation, and human presence within constructed environments. Overall, Modi's work operates at the intersection of tradition and contemporary life, where architectural order, cultural memory, and lived experience shape visual form. Her figures inhabit real spaces structured by social and cultural systems, yet retain individuality and emotional depth. 

Neha Suthar

Neha Suthar's practice is rooted in an introspective process where painting becomes a personal conversation. Working with charcoal and mixed media, she uses line, texture, and shadow as tools to process thoughts and emotions that remain unspoken. Her surfaces are built through scratching, layering, and erasure, allowing images to emerge organically rather than through predetermined narratives.

In series such as Burning Souls, fragmented human faces and suspended forms reflect inner states of vulnerability and emotional intensity. The figures often appear withdrawn or incomplete, occupying ambiguous spaces that suggest psychological rather than physical environments. Earthy tones and assertive charcoal marks convey both urgency and restraint, capturing moments where emotion is felt but not articulated. Nature appears in abstracted forms that merge with the human body, reinforcing themes of endurance and transformation. Silence plays a crucial role in her work—communicated through shadow, absence, and unresolved form—where the unsaid becomes a powerful visual language. 

CONCEPT NOTE

Between Inner Silence and Shared Spaces

This exhibition, presented at Nippon Art Gallery, opens on 10 February 2026 and brings together the works of Nipa A. Modi and Neha Suthar, foregrounding material practice as a key site through which social experience and inner states are articulated. While the artists differ in approach and visual language, both employ material, surface, and process as central components in constructing meaning.

Nipa A. Modi's practice spans painting and sculpture, reflecting sustained engagement with figure, space, and structure. Her paintings incorporate patterned surfaces and architectural frameworks—most notably in the Ranakpur Whispers series—where lattice-inspired motifs derived from the Ranakpur heritage site organize pictorial space. These structural elements function not only as visual devices but as cultural references, situating contemporary figures within systems of tradition, labour, and social continuity. Her sculptural works, particularly those using bronze scrap, emphasize material reuse and hand-built form, underscoring ideas of endurance, adaptation, and human presence within constructed environments. In contrast, Neha Suthar's material approach is process-driven and introspective. Working primarily with charcoal and mixed media, she constructs surfaces through layering, scratching, and erasure. The physicality of mark-making becomes a record of emotional engagement, where fragmented figures and suspended forms emerge through repeated gestures. Material instability—visible in rough textures and unresolved surfaces—mirrors psychological vulnerability and internal unrest, allowing silence and the unsaid to remain present within the work. Together, the exhibition examines how material choices shape artistic expression, positioning the body and human experience at the intersection of external structure and internal reflection. The works invite viewers to consider how material, memory, and emotion operate within both shared social spaces and private inner worlds. 

Text by

Mukur Biswas

Feb 2026 

"Divine Texture of Culture" An Exhibition of Sculptures by Kiran Shigvan, Karuna Shigvan

Kiran Shigvan:

Kiran Shigvan’s sculptures operate at the intersection of anatomical precision, restraint, and a sensitivity to material behaviour. Working primarily in fibreglass and bronze, he demonstrates a disciplined command over form, allowing the human figure to emerge not as show but as a site of quiet psychological intensity. His sculptures often appear paused mid-thought or mid-breath, suggesting an inward turn rather than an outward performance. There is no excess here, gesture is economised, surfaces are controlled, and the body is treated as a vessel of lived experience rather than an object of idealisation.

What is striking is Shigvan’s ability to let material speak without overpowering the subject. Fibreglass lends his figures a contemporary immediacy, while bronze anchors them within a longer sculptural lineage, creating a productive tension between the present and the classical. His figures carry the weight of ordinary vulnerability; fatigue, contemplation, resilience, rendered with dignity and restraint. In an age of overstated narratives, Kiran Shigvan’s sculptures insist on slowness, silence, and deep looking.

Karuna Shigvan:

Karuna Shigvan’s sculptural language is lyrical, devotional, and inward-looking, shaped by an enduring engagement with feminine presence, musicality, and mythic memory. Her figures, often women, musicians, or dual-faced visages are not portraits in the literal sense but embodiments of states of being: listening, offering, waiting, remembering. Working with bronze and fibreglass, she builds surfaces through intricate texturing that recalls textiles, jewellery, and ritual ornamentation, allowing the skin of the sculpture to carry cultural memory and form.

There is a musical rhythm in her work; the flute, the peacock feather, the inward-tilted head, suggesting sound translated into stillness. Unlike heroic monumentality, Shigvan’s sculptures favour intimacy and grace; their elongated proportions and softened gestures evoke bhakti traditions and classical Indian aesthetics without slipping into pastiche. The duality of faces hints at layered identities: inner and outer selves, the temporal and the eternal. Her work draws the viewer into a quiet, sustained communion. In a contemporary moment obsessed with speed, Karuna Shigvan’s sculptures reclaim slowness as a form of reverence.

Sushma Sabnis 

Mumbai

From: 10th to 16th February 2026

"Divine Texture of Culture"

An Exhibition of Sculptures by Kiran Shigvan, Karuna Shigvan

VENUE: Nehru Center Art Gallery,

AC Gallery, Dr. Annie Besant Road, Worli, Mumbai 400018

Timing: 11am to 7pm

Contact: +91 77108 68631 / +91 77759 87011