-
-
“The mind is a restless bird; when it finds stillness, it discovers the essence of the divine.” – Kabir
The journey of an idea draws to a conclusion in the deliberated narrative of the artist’s language, be it contemporary or traditional. Throughout history, the ultimate goal of creation began with the ode to the divine, with humankind aspiring to mirror this divinity. The journey from raw material to finished work is a reflection of that aspiration, as the threads are woven into their final arrangement. The work in its final form reflects not only the completion of the journey but also its ultimate harmony with the universal order. Here, all parts—material, intention, and meaning—are perfectly aligned, mirroring the divine aspiration in human creation. The creative process, from seed to full bloom, is fulfilled, and the result stands as a testament to the ultimate goal of creation.
Varunika Saraf presents a series paying tribute to the Jugnis—rebels asserting women’s agency against historical oppression. By subverting traditional forms of veneration, she emphasises women as active agents of political and social change, embodying a divine connection to empowerment and transformation. Parul Thacker, an artist originally trained in weaving, creates an embroidered work — The House of Spirit: Uncreating, Uncreated and Unborn – unit 06 that serves as a metaphysical representation of ancient philosophies, bridging the gap between tradition and contemporary art. Her works embody a dialogue between the material and the divine, illustrating the ultimate goal of creation through textiles. Raja Ravi Varma’s oleographs depict Hindu deities, symbolising the connection between traditional and contemporary interpretations of divinity. As a pioneer of modern art in India, Varma redefined traditional deities by giving them form and accessibility, making them relatable to contemporary audiences. Mohan Prajapat and his embroidery team continue the legacy of the Chamba Rumal, weaving indigenous tales and epic narratives into intricate tableaus, including the Mahavidyas, which represent ten forms of the Divine Feminine from the Tantric tradition. The embroidered sample of Kutchi Handwork on display showcase this traditional craft from the Kutch District (Gujarat), where Kutchi women have historically embroidered garments for festive occasions and adorning deities. Additionally, Kutchi embroidered garments highlight the intricate techniques of this art form, emphasising the aesthetic aspects of traditional dress, connecting the artistry of women in rural India to the broader narrative of divine fulfilment expressed through their craft.
