Art has a way of revealing itself differently to every viewer. Each work carries a story, a memory, or a fleeting thought translated into form. At Kalakriti Art Gallery, Prakriti – A Quiet Continuum and Living Lineages come together as a thoughtful showcase, bringing distinct artistic voices into a shared space. On view until June 15, the exhibition is guided by founder Rekha Lahoti, who walks us through its layered narratives and the ideas behind the curation
“The name Prakriti itself means nature. Nature teaches us in its own language, and each of these contemporary artists responds to that in a unique way,” she explains. Roy K John’s works linger on the unnoticed — branches, textures, and the quiet life within trees — capturing delicate details that might otherwise go unseen. In contrast, Lal Bahadur Singh approaches nature through a surreal lens. “He imagines trees as fluid, almost dream-like forms,” she says, pointing to a piece where a tree takes on the shape of an airplane, or a raw mango tree appears to travel across space — visions drawn from imagination rather than observation.
Sumanto Chowdhury’s intricate colour pencil works offer yet another perspective. Rooted in memories of Bengal, his drawings evoke old homes, fences, and echoes of the colonial era. “They come from stories he has read and spaces he has seen,” she adds, noting the meticulous technique that brings these narratives alive.
K Sudheesh shifts the focus toward fauna. His works, often large and immersive, create a quieter yet powerful engagement with the forest. “They are subtle but impactful. We’ve given them space so viewers can really step into the work,” she shares. The second part of the exhibition moves from contemporary interpretations of nature to inherited traditions. “Living Lineages is about practices that have been passed down through generations,” Rekha highlights.
The works of Balu Jivya Mashe represent Warli art from Maharashtra, once created using natural materials like cow dung and tempera. Cheriyal scrolls, stretching up to 60 feet when fully unfurled, narrate layered stories — from epics like the Mahabharata to regional folklore — each panel leading seamlessly into the next.
Kalamkari finds expression through the works of Saroj Venkat Shyam and Venkat Shyam, whose pieces reflect both precision and narrative depth. Bidri art introduces another dimension, where intricate silver inlay work emerges against dark surfaces — subtle yet striking. The exhibition also features Gond artists from Madhya Pradesh, each bringing their own visual language to a shared tradition.
“The idea was to create a dialogue,” Rekha says, adding, “Today, there is a renewed focus on indigenous art, even at a national level. These forms are often presented to visiting dignitaries as a reflection of our cultural identity.”
By placing contemporary works alongside folk and tribal traditions, the exhibition invites viewers to see continuity rather than contrast. “People often ask why these two are shown together. But these traditions are living-they are passed from one generation to the next. For instance, Balu Shyam inherited his practice from his father, Jivya. That’s how these lineages continue,” she reflects.
Ultimately, Prakriti – A Quiet Continuum and Living Lineages are less about categorising art and more about understanding its evolution — how nature, memory, and tradition intersect across time.