“GWALA” Solo Show of Paintings By Ranjeet Datt Varma at Jehangir Art Gallery

 A solo exhibition titled ‘Gwala’ by Renowned artist Ranjeet Datt Varma will open on 16 March 2026 at 5 p.m. at the historic Jehangir Art Gallery. The exhibition will remain on view until 22 March 2026 and will present a new body of paintings that draw inspiration from the pastoral and devotional imagery associated with the cowherd figure in Indian cultural memory.

Artist: Ranjeet Datt Varma

In this series, Varma explores the symbolic world surrounding the Gwala - a figure historically linked to Krishna lore and the agrarian life of pastoral communities. Rather than approaching the subject as a strictly mythological narrative, the artist interprets it through a contemporary painterly vocabulary that merges folk sensibilities with stylised figuration. The result is a group of works that evoke tenderness, companionship and quiet introspection while retaining a strong connection to rural cultural identity.

Varma’s paintings are distinguished by their radiant palette and fluid forms. Figures appear simplified and sculptural, often emerging from fields of luminous colour that heighten the emotional atmosphere of the compositions. The surfaces carry a sense of vivid lyricism, where expressions, gestures and shared moments between characters become central to the narrative. Through these visual encounters, the artist reflects on themes of love, devotion and everyday human relationships embedded within traditional storytelling.

The exhibition also highlights Varma’s engagement with colour as a primary expressive device. His canvases unfold through vibrant tonal contrasts that create depth and vitality while maintaining a sense of harmony across the pictorial space. This chromatic language lends the works an almost dreamlike quality, balancing familiarity with imaginative interpretation.

Originally from Nanded, Maharashtra, Ranjeet Datt Varma brings the cultural memory of rural life into dialogue with the contemporary gallery environment. ‘Gwala’ therefore becomes more than a thematic series; it functions as a visual meditation on heritage, storytelling and the enduring emotional resonance of pastoral imagery within modern artistic practice.

This show will be inaugurated on 16th March 2026 at 5.00pm by Hon. CHIEF GUEST

Adv.Shri Ashish Ji Shelar It & Minister Of Cultural Affairs Of Maharashtra

Guest of honor

Shri Bhimraoji Keram M.L.A (Aamdar), Assembly Of Kinwat

Shri Ravi Rana Leaf Victorious Election Chin Y.S.P Mla Badnera Vidhan Sabha Chairman Assurance Committee Legislative Assembly, Maharashtra State Ajoykaant Ruia

Chairman (All State Group), Shri Dr. Ganesh Tartare Former Hod, Sir J.J. School Of Art, Architecture & Design, Mumbai. Shri Surendra Jagtap Principal Of J.K. Academy Of Art & Design, Mumbai, Shri Balaji Ubale Hod. Drawing & Painting Of J.K. Academy Of Art & Design, Mumbai.

From: 16th to 22nd March 2026 - “GWALA”

Solo Show of Paintings By Ranjeet Datt Varma

VENUE: Jehangir Art Gallery, 161-B, M.G. Road,

Kala Ghoda, Mumbai 400001- Timing: 11am to 7pm

Contact: +91 9307368851,+91 8788118761

“Pristine Harmony”Solo Show of Paintings By Rupesh Patil at Jehangir Art Gallery

Mumbai: Acclaimed artist Rupesh Patil will present his much-anticipated solo exhibition, “Pristine Harmony – Nature Unveiled Through Wash and Stroke,” from 17 March to 23 March 2026 at the prestigious Jehangir Art Gallery, Kala Ghoda, Mumbai. The exhibition will be open to the public daily from 11:00 AM to 7:00 PM.

In Pristine Harmony, Patil explores the poetic relationship between nature, light, and color through his masterful command of the wash technique. The collection reflects a sensitive yet powerful visual language, where purity of landscape and the rhythm of color compositions converge seamlessly. His works reveal an evocative interplay of light and shadow, capturing fleeting moments with remarkable depth and subtlety.

The exhibition features expressive portrayals of India’s rural beauty, tranquil seascapes, luminous sunsets, reflective waters, and immersive natural environments. Each canvas embodies a contemplative stillness while simultaneously conveying emotional resonance. Through delicate tonal transitions and atmospheric layering, Patil invites viewers into an intimate dialogue with nature.

The exhibition will be inaugurated on 17th March 2026 at 4pm by Ashish Shelar, Hon’ble Minister for Cultural Affairs, Government of Maharashtra, and Nitesh Rane, Hon’ble Minister for Ports Development, Government of Maharashtra.

The opening ceremony will be graced by distinguished guests including Mahesh Baldi (MLA, Uran), Gaurav Dayal (Chairman, Jawaharlal Nehru Port Authority), Nilesh Khare (Editor-in-Chief, Sakal Media Group & COO, Saam TV), Ajay Saini (Managing Director, GCC Hotel & Club), Surendra Jagtap (Principal, J.K. Fine Art Academy & Design), Ranjit Marathe (Principal, Devrukh College of Art & Design), Prof. Prafulla Satoskar (Professor, Sir J.J. School of Art, Mumbai), along with nationally and state-level gold medalist artist and senior art educator Atul Jagtap.

From: 17th to 23rd March 2026

“Pristine Harmony”Nature Unveiled Through Wash and Stroke

Solo Show of Paintings

By Rupesh Patil

VENUE: Jehangir Art Gallery: AC -1, M.G. Road

Kala Ghoda, Mumbai 400001 / Timing: 11am to 7pm / +91 9167411759

Stratographs

Makarand Rane’s paintings feature repeated botanical forms that organize color in various hues and traces. His imagery is influenced by Matisse's cut-outs and Ellsworth Kelly's drawings of plants, as well as direct observation of fallen leaves and flowers. The works reveal a close examination of the process of painting as an act of depicting and covering and connect the painted image with the flatness of printing and the dimensionality of sculpture. Born in Kankavli, Sindhudurg he studied art at Sahyadri School of Art, Sawarde, Chiplun. Inspiring Makarand to explore Konkan’s corollary in the visual arts, where landscape is culture. The works disrupt usual ways of looking at iconic works while interrogating the ways that visual depictions of place tell us much about cultural and historic attitudes towards the natural world and our environment.

Artist: Makarand Rane

At the entrance to the visual center of the gallery and in some ways the entire show, is a magnificent yellow painting, which unfolds across a gold leaf screens. Here, the painting follows the folds of the panels making use of their movement to reveal a landscape of mountains and water. A narrative unfolds and at its dramatic conclusion, the scholar who has arrived by boat to contemplate the scene makes his appearance, serene under a massive rock formation. The effect is operatic, the brushwork that has come before at times as gently black as mist, at other times a staccato flurry builds to a crescendo here in the swirling black strokes of the rock formation.

The physicality of the brushwork is what commands attention; the painter appears to have been moving his ink-laden brush like a fevered conductor. And yet, the scene is one of contemplation, of absolute stillness. How can this be? These visual paradoxes, and the rhythms of the making evident in the masterful brushwork, create the compelling imagery, the rocks themselves depicted in urgent of dark strokes. So begins this small gem of an exhibition, featuring 10 carefully chosen works which from the onset, challenges viewers to re- think the pictorial representation of landscape and nature in Konkan while offering an opportunity to view masterpieces on canvas.“My idea was to put together a show of landscape painting,” says the artist, “without using the word ‘landscape’. I wanted to expand popular ideas of ink brush painting to help people see beyond the usual expectations of what art from Konkan should be.” The division of the show into three main themes: imagined places, mountains, trees, fields are sacred to the artist.

The emphasis is upon the possibilities of brushwork and the resulting tonality in the handling of black ink on paper, alongside colors on canvas. What constitutes “landscape” is also radically different from Western painting traditions. Japanese pictorial vision relied on invented scenes, literally called sansui, “mountains and water,” or as in the case of the yellow leaf, as imagined in peak Konkan summer. Nature as a subject of contemplation is not something apart from man, but rather, man is as much a part of nature as the mountains and water.  Even the language of comparison becomes tricky. The term “landscape,” (which derives from the German word landschaft, denoting agriculture), not apply to Japanese ink painting, but neither does the word nature, which does not even exist in the Japanese language. The closest Japanese word, “shizen,” which only entered the language in the 19^th Century through translations of Western texts which used the word nature, is used primarily as an adjective meaning to act naturally, or in keeping with one’s essential nature. Naming is of course a critical act of separation of self from the object being named.

In religion and philosophy, the concept of man versus nature has been an enduring theme, depicting an artist setting to work on a painting of an outdoor scene, beginning with a mountain, but soon details make it clear that this artist is seated inside and the mountain he paints is from his imagination. Makarand’s piece, in romantic vision of nature has been burned, perforated and rendered unstable, bits of it piled on the floor in what amounts to a stark critique of the idea of nature as something pristine, apart and thus enduring. We are reminded that visions of landscape reflect culture, history, and in very direct ways, the subject position of the viewer.  Just as refreshing, the stance of eco-critical art history, which extends beyond questions of representation to consider the environmental implications of materials, is introduced.  We engage the ways art has always embodied ecological conditions both materially and conceptually whether the maker recognizes them or not.

The title of the exhibition, “Stratographs” pays homage to the new republic’s urgent sense of exceptionalism, based in the idea that a place apart, a previously un-peopled and unspoiled wilderness where history could begin again a new Eden.  As the exhibition reveals, Konkan’s wilderness as the ethical, spiritual and aesthetic birthright went hand in hand with a ruthlessly extractive view of nature as raw material to be used for progress., rendered with a quality of light that evokes beauty, truth and inspiration; we feast on a romantic vision of nature as all-powerful and beyond the reach of human ken. But as our eye travels the lines of cliffs and down through trees and rock formations, something interesting happens, the formal elements of composition begin to tame this wilderness. Symmetric and asymmetric forms are balanced by areas of intense light and dark, creating rhythms of looking, encouraging the eye through this painted landscape in an orderly and logical progression. We are not crashing through the underbrush, scratching ourselves on thorny vines and poison oak. Magnificent wilderness is rendered safe as a postcard, while the sloping cliffs and falls intensify the sense of space and openness. The visual logic of the painting not only supports the exceptionalism of the costal nature; it renders this wilderness critically spacious and empty, ready for settlement.

Environmental humanities is a relatively new and evolving field, but this show, the result of years of work by Makarand, demonstrates the ways in which the eco-critical lens is both timely and moving. His indirect and painstaking process creates spirit-filled visions, where the experience of perspective and rational space is blurred into fragments and projections. They are like elegiac shrines to the natural world and to the impossibility of separating human presence from the landscape, which is as much a product of the mind as the weather. Strata of cultural and personal memory accumulate in dense deposits like layers of compressed rock: his paintings are as much geological as psychological.

Abhijeet Gondkar

March 2026

Phansop, Ratnagiri

“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