Chintan Upadhyay is known for creating provocative and incisive works that critique society in a decidedly tongue-in-cheek fashion. His signature leitmotif – babies (Chintus/Smart Alecs/Designer Babies) – functions both as symbol and surface on which meaning is created following their idiosyncratic requirements. In their homogeneity and vaguely disturbing artificiality, they highlight the rampant commercialism we see around us. Often overtly sexual Shekhawat Miniatures appear on the body of the work, suggestive of the contradictions within the artist’s own mind and practice.

In this manner his paintings and fibreglass sculptures represent cultural fusion and a metamorphosis of classicism into the contemporary. In their assorted irreverent poses and gestures, they interrogate manipulated realities and the politics of identity with impish anger hidden beneath a cute exterior. In addressing serious issues of genetic manipulation and mutation, Chintan Upadhyay problematizes not only identity, consumerism and cultural formation but the very nature of life, birth and death in a technologically modern world brutally dictated by market forces. Chintan Upadhyay has shown in several galleries around the world including Gallery Espace, New Delhi; Leela Kempinski Art Gallery, Mumbai; Seoul Art Centre, South Korea and Grosvenor Gallery, London. He is a recipient of the Charles Wallace India Trust award and several other awards for his paintings and drawings. He also founded Sandarbh, an artists’ initiative that provides impetus and a creative environment for artists from around the globe.

Born in 1943 Amit Ambalal uses his satirical wit to develop parody, caricature and mimicry in his work. The pleasure he derives by a moving brush is evident in his act of image-making, defined by the free flow and transparency of colour and form.

In 1979 he decided to abandon the role of a businessman and become an artist. His keenness to be transparent and therefore very human have led him to banish rigidity and embrace fluidity in his life. His work becomes as much about birds and animals as about human beings in satirical arrangements. Imbued with energy and wit, Ambalal creates a visual language, where he often re-explores mythological themes and tales, and re-imagines mythical characters in  new idioms, both secular and sacred. He works in watercolour, gouache, dry pastels and papier mache. Amit Ambalal has exhibited at Gallery Espace, New Delhi; Archer Art Gallery, Ahmedabad, Academy of Fine Arts, Kolkata; Bodhi Art, Singapore; Galerie F.I.A., Amsterdam; James Harvey Gallery, Sydney amongst many others. He is the recipient of the Civitella Ranieri Foundation Fellowship, Italy [2003], Ahmedabad Municipal Corporation [1974] and Gujarat State Lalit Kala Akademi [1968]. He has also participated in the India Art Fair, New Delhi [2010], 6^th Bharat Bhavan Biennale of Contemporary Indian Art, Bhopal [1996]. Ambalal’s interest in Nathdwara Paintings of Rajasthan led him to publish a seminal book entitled Krishna as Shrinathji. He also held an exhibition of his personal collection of Nathdwara Paintings in Delhi.

The artist lives and works in Ahmedabad.

Manjunath Kamath is an Indian contemporary artist whose versatile practice comprises painting, drawing, digital collage and sculpture in terracotta. Kamath’s art draws from diverse cultural references near and far – the sculptures, frescos and carvings in temples, churches and basadis (Jain temples) around where he grew up in south Karnataka; the richly-clad figures in Yakshagana mythological plays; the stories from Indian epics; the paintings of Raja Ravi Varma, and further afield, Michelangelo and Rembrandt; Persian and Indian miniatures; the arabesque patterns from Middle Eastern architecture; motifs from Victorian upholstery and Chinese ceramics. Kamath has made a careful study of traditional (classical/religious) iconography, and his works reflect his understanding of the way elements of a culture, such as styles and conventions of depicting figures in painting or sculpture, patterns and motifs, travel across time and geography, altering even as they retain the impress of their origins. Kamath uses a fragmented imagery to stage these seamless encounters, the surface fractured into segments seemingly taken from assorted paintings or sculptures – a hand here, a foot there, the curve of a cheek or a portion of a bird – melded with geometric patterns, gilded textile prints, or the decorations on a cupola. Kamath is also fascinated by time and its impact, especially the erasures and distortions it causes on material culture, and he reproduces it on his canvases through a painstakingly layered process. The result is a surface that often resembles a mosaic or a jigsaw puzzle, with missing pieces that the artist seems to invite viewers to find meaning, or to create a story that accounts for all the disparate elements.

A sense of playfulness is a hallmark of Kamath’s practice. But underlying it is a larger, more serious point – a consciousness of the common roots and interconnectedness of cultures – a message very relevant in today’s political climate. Kamath speaks often of his process being an echo of history-making, of the empty spaces and broken, composite forms in his works opening the space for alternative narratives which might or might not have been “real”. “The empty space is the venue to create history, to create fiction,” he says.

Born in 1972 in Mangalore (Karnataka, south India), studied art at the Chamarajendra Academy of Visual Arts, Mysore and later the School of Art & Design at the University of Wales Institute, Cardiff, United Kingdom. He is represented by Gallery Espace and has had numerous shows in museums, galleries and fairs in India and internationally. Among these were a solo ‘As Far As I Know’ at the Scad Museum of Art, Savannah, Georgia in 2015, and a solo titled ‘Archival Erasures’ at Abu Dhabi Art 2019. Kamath’s works are present in several private and public collections, among them the Los Angeles County Museum of Art, Detroit Museum of Art and The Art Institute of Chicago in the US, Museum of Sacred Art in Belgium, and the Kiran Nadar Museum of Modern Art and National Gallery of Modern Art, New Delhi.

Kamath lives and works in New Delhi

G R Iranna’s subtle treatment of quasi-abstract form is suggestive of his attempt to understand the impermanence of life around. This evokes a human vulnerability defining the very fragility of life. His fascination with ash stems from the everyday rituals and also, of what ash in itself represents. For him, ash is inseparable from birth and death, thus amounting to the return to nothing-ness, after coming full circle. Consequently, his works are an evolved appreciation of religious poetry, myth and loss and, a spiritual quest.

Iranna’s works have been exhibited in numerous galleries which include Gallery Espace, New Delhi; The Guild Art Gallery, Mumbai; Aicon Gallery, London; Berkeley Square Gallery, London; Maulana Azad Centre for Indian Culture, Cairo; Gallery Martini, Hong Kong. His work is part of collections at the National Gallery of Modern Art, New Delhi; Bharat Bhawan, Bhopal; Lalit Kala Akademi, New Delhi; Singapore Art Museum; SAM Museum, USA and others, including personal collections at Mumbai, Delhi, Germany, Holland, Austria, Paris, Switzerland & elsewhere.

Iranna is a recipient of the ABPF Foundation’s Signature Art Prize- Singapore Art Museum Jury Award [2008]; Harmony Show Artist of the Year Award, Harmony Foundation, Mumbai [2004]; Charles Wallace Scholarship between 1999 and 2000; 40th National Academy Award from Lalit Kala Akademi and the AIFACS Award in 1997. In 2007, GR Iranna’s artwork was the subject of a publication: The Dancer on the Horse by Ranjit Hoskote and, he was also written about in INDIA 20: Conversations with Contemporary Artists by Anupa Mehta.

The artist lives and works in New Delhi.

Waswo X. Waswo (B. 1953) is an American traveller, poet and photographer who has lived and exhibited in India for over 20 years. Noted for their exquisite detailing, his contemporary miniature paintings extend their visual vocabulary to a style reminiscent of Mughal Miniature Paintings, Mewar Court Miniatures, and The Company School. Waswo poetically transfers narratives into rich and symbolic visuals with the help of a band of skilled traditional painters. The paintings are multi-layered and dense in narrative, blending genres and playing intelligently on themes interwoven from history, colonialism, and contemporary identities. In the paintings, Waswo often features as the bumbling protagonist who is observed and embraced by Indians. Part confessional and part comical, the paintings are semi-autobiographical, and evoke issues of Otherness, and the transcendence of the same in a way that is problematic yet poignant.

Waswo X. Waswo’s work is held in collections at the Haggerty Museum of Art, Marquette University, USA; The Asian Art Museum of San Francisco; The Museum of Art and Photography, Bangalore; DAG Modern; The William Benton Museum, USA, as well as others.

The artist lives and works in Udaipur, Rajasthan.