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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.
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.
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| 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
Nippon GalleryA 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.
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| 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
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
