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A solo exhibition by artist Shruti Gupta Chandra features a new body of abstract works that chart the artist`s journey through intuition, movement, and emotional responsiveness.
“Where Does the Mind Stop and the World Begin?” at Triveni Kala Sangam`s Shridharani Gallery marks a transition in Chandra`s artistic journey, from early figurative realism and detailed anatomical studies to symbolic mindscapes, surreal architectural explorations, and a full embrace of abstraction.
In this current series, Chandra rejects structural conventions, light-and-shadow formalism, and compositional predictability, instead forging organic pathways that rupture mainstream image-making.
“Time sets boundaries and norms that we have. And I feel that`s more in our mind. We set our own boundaries, we set our own limits, and that is something we need to break. And this time, I wanted to break every kind of recognisable form, recognisable colours, and introduce strange colours. If I felt like putting fabric, I did. If I felt like stitching, I did. I didn`t follow any rules of light and shade. There were just no rules at all,” Chandra told PTI.
These “desire paths” become metaphors for freedom, routes carved instinctively across terrain, cutting through prescribed meanings to reveal multiversal configurations. In her latest body of work forms float untethered against luminous white grounds, sometimes voluminous, sometimes flat or amorphous, as while lines, dots, and gestural marks traverse the picture plane in unpredictable rhythms.
Working across acrylic, oil, watercolour, pen, pastel, collage, and mixed media, Chandra`s practice is informed by over four decades of engagement with both dance and visual art, as it reveals an intrinsic dialogue between movement and mark-making.
Curator Ashwani Pai Bahadur said that in the last five years or so, Chandra has moved to techniques in abstraction influenced by music.
“Her initial work was influenced by architecture and the human form… Because she is a fully trained Kathak dancer, there is a lot of the rhythm of dance which has now come into this work. There is a lot of movement in some of them. The movement is affected by her work in dance. Now a lot of colour has also come into her work.
Colour is a very strong part of her work and in this show, she has moved towards mixed media a lot more than earlier,” Bahadur said.
The curatorial framework and key thematic insights of the exhibition draw on the accompanying essay by Lina Vincent, an art historian, writer, and curator, whose text reflects on the philosophical, aesthetic, and spiritual dimensions of the practice.
The exhibition comes to an end on March 24.
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