At Kalakriti Art Gallery, The Quiet Fluid reimagines watercolour as a medium of depth and power, where fluidity, light, and chance shape works that move seamlessly between landscape, figuration, and abstraction. The exhibition positions watercolour not as a delicate or preparatory tool, but as a complete and contemporary artistic language, inviting viewers to slow down and engage with its quiet nuances. “The artists were chosen for their shared sensitivity to the medium and the distinct ways they engage with it, revealing its capacity for atmosphere, depth, and emotional resonance. We also wanted visitors to experience the exhibition in a slower, more contemplative way — where subtle shifts in tone, transparency, and gesture unfold over time, creating a space that feels both intimate and expansive,” says Ruchi Sharma, chief curator.
Sujit SN
There are many moments when one could stop, but choosing the right one is crucial. A work feels complete when it achieves balance without disturbing harmony. Water-based mediums create a tension between control and surrender — too much control can strip vitality. My process begins with an impulse, develops through sketches, and unfolds in layers. A painting should remain open, inviting multiple interpretations.
Asgar Jahangir Jani
It’s an instinctive decision; the work itself declares its completion. I begin with gestural applications of water and pigment, creating softness, followed by controlled signs and defined elements. There cannot be a single interpretation of any artwork — I encourage viewers to find their own meanings. It becomes a conversation between elements and the artist, resulting in something fresh, free from memory and imposed imagination.
Srinivas Pulagam
A painting is complete when it reaches stillness, when its energy feels resolved. There’s always the urge to continue, but restraint is as important as action. It’s a dialogue between intention and surrender, where structure meets instinct through layering and gesture. I begin with memory or feeling, building through intuitive marks and refinement. Being part of the exhibition feels humbling and energising.
Claire Lono
I know a painting is complete when I feel harmony in its curves, lines, colours, and brushstrokes. I move between the whole and the details, allowing the unexpected. Abstract art begins with a need for colour — a vibration I translate onto canvas — letting viewers form their own connections. Being part of the exhibition has been gratifying, and the response has been very positive.