An invitation I received from a young artist of his solo show that was held at the Forum Art Gallery in Chennai made me curious; and compelled me to visit the exhibition. As an image of the art work in the invitation it was different, attractive, charming and poetically elegant. The show titled “The Magnificent Life” by the visual artist Rajesh R.V. was an exhibition not of paintings rather collages as mixed media compositions.

Young and full of heady creative ideas, Rajesh gave me a walkthrough of all his mixed media collage works. As the title suggests his works are a celebration of life on this beautiful earth constituting all kinds of creatures – man, animals, mammals, birds, insects and myriad other small creatures that inhabit the surface of this dynamically living planet. The fundamental concept that runs through the entire show is about the balance of life and its energies among the diverse population of living creatures from micro to macro. The underlying theme of balance is the thread of connectivity that links all of Rajesh’s works together like different beads strung together. The most striking dimension of his work is his engagement with the medium of Papier Collé or collages developed only using paper. It is a technique of crafting paper with either forms or creating abstract shapes dependent on the sensibility of the artist. In the case of Rajesh, he has articulated with this medium and has evolved and developed the subject matter thematically based on the life on earth; cutting elegant silhouettes of man, woman, birds, butterflies, horse, deer, rabbit and the beautiful flora. Most of these images arise from his subconscious of empirical experiences of having observed the environment around him. He has perceptively, thoughtfully and intelligently engaged with glossy paper derived from different types of magazines like Vogue, National Geographic and Femina etc. 

In his compositional structuring which is on linen canvas, he paints the background with different colours, textures as well as with marked and defined divisions of the background space into vertical, horizontal or squares, which however marks the main saliency that is at the heart of all the works. Some are compositionally designed as diptychs to literally advance his concept of balance or metaphorically as a duality that exists in nature. The most ubiquitous animal privileged is the horse, rabbit and the deer with the background filled with avian creatures particularly the migrating birds as well as the plantain tree and variety of flowers strewn across or in a calculated manner. The loveable creature in his works is the butterfly that is encapsulated within a circle or just fluttering around happily. The mood of his mixed media collage is happy and full of gaiety, an overt optimism and celebration of life generally through select preferred creatures. Man of course dominates the composition as the highest evolved animal intellectually, emotionally and spiritually. Yet it is to the man that Rajesh is gesturing as responsible for much of the imbalances of energies that exist in nature with over exploitation of forests, water resources and the polluted urban environment. It remains his plea to live in harmony and maintain the balance of energies as evident in the intangible symbols of yin and yang that governs nature and life generally. In other words he has created a utopia where there are no disruptions, discrepancies or imbalances.

In critically analyzing his compositions, one idea that singularly prevails is his concerted effort to clarify that the mother earth is living and growing and the realm of flora and fauna requires maintenance of harmonious balance and not an acrimonious existence. The balance he aims to establish is through the principles of art namely asymmetry and symmetry in compositional formatting with divisions and creatures and animals positioned to produce the visual balance or through division with squares and circles, which seminally establish his astute artistic brilliance, insightful observation of life, the empirical experiences internalized and perceptively translated to create artistic expressions that are as pragmatic and poetic, delicate and robust, lively and static, emotional and prosaic. The background grid is painted or textured creating visual interest, which is overlaid with his collage of paper cut forms. It is this combination painting and collage which gives his works a distinct character, setting him apart from other collage artists who have articulated purely with paper. 

To elaborate his studied and intuitive balancing, a metaphor for the balance in nature that he is in quest of, the work titled “Popular Science XIII” has the background grid dividing the vertical space in the ratio of 1/3^rd to 2/3^rd and below this 2/3rd space is another horizontal division coloured in pink shade, which constitutes of circular elements. The larger vertical space is painted in cadmium yellow and the narrow strip adjacent to it in cream colour. A couple occupies the central space facing each other in a confrontational mode. The narrow strip in cream colour is charmingly filled with buds and leaves on a slender stem. Balancing the verticality of the man and woman are the deer as they leap and scamper about, disposed as horizontal elements. The whole composition is filled with interesting details of butterfly, lotus flowers and buds. But the interesting aspect of this composition is in the detailing that is represented within the circles. Rajesh has cut and stuck meticulously the details he seemed fit to be part of the entire universe.

Rajesh’s artistry develops a unique visual aesthetics, since his forms of varied living creatures are cut with meticulous precision, having the effect of delicate and elegant painted silhouettes. He has designed the human characters with a particular style that resonates with stylistic expressions from ancient civilization.  Moreover his source of inspiration has been the comic books from the west, to which he was attracted to from a young impressionable age and swears by it, where the stylistic representation of the comic characters is filtered through in this body of works. There is subtle humour in the way he creates his animal world, as they leap and run and find their joys in little delights. Of course the most loveable characters are the horses, deer and rabbits. Horses predominate and for Rajesh it symbolizes power and remains a complex metaphor for human vulnerability. Horse also symbolizes authority, freedom, success and vitality. An extremely a graceful animal, Rajesh has taken absolute delight in rendering it according to his sensibility and perception as representative of both power and authority that in a way indirectly gestures to his artistic and imaginative powers and the authority of his vision as he brings it alive meaningfully in his work. Rabbit on the other hand is a layered motif moving between innocence, vulnerability and survival. The animal is also about abundance, intuition and the unconscious, important saliencies associated with him as an artist as abundant creativity, intuitive thoughts and approaches and the unconscious; from the layers of which emerge many of the imageries that come into play as part of the artist Rajesh’s vocabulary. Deer on the other hand is symbolic of grace, renewal, longing for freedom, strength and vulnerability.  These characteristics resonate with artists generally and for Rajesh may be symbolic of his evolving and developing artistic persona. 

The landscape of his mind intersects through an intuitive engagement with different dimensions of nature, resulting in works that are simply charming, filled with vitality of colours, elegant and eloquent artistry in the representation of the birds that have been delicately cut maintaining the levitational character as they swoop in or swing out to fly. Some of his most loveable works are the “Ganapati I, II, III” , “Ashva I, II, III”, where the horses predominantly are the protagonist, which according to Rajesh, “Philosophically, the horse reflects the human mind and senses—powerful, restless, and full of motion—while the rider symbolizes the ātman, or inner self, guiding it toward balance and awareness”. His diptych of “Taoism” carries the weight of his philosophy which according to the artist, “I explore the quiet balance that exists within all life through the idea of Yin and Yang. Yin carries the gentle, nurturing energy of the moon, water, earth, and night, while Yang reflects the active and radiant energy of the sun, fire, sky, and day”. In this diptych, Rajesh marks the climatic dimension of his philosophical energy, as it is a meticulous and precisely designed composition, which in its elegance, charm and beauty is akin to a goldsmith at work refining the stenciled forms. All his works are captivating and pure visual delight in its aesthetics.

DR. ASHRAFI S. BHAGAT

ART HISTORIAN, ART CRITIC, AUTHOR AND AN INDEPENDENT CURATOR

ASSOCIATE PROFESSOR AND FORMER HEAD [RETIRED]

DEPARTMENT OF FINE ATS

STELLA MARIS COLLEGE [AUTONOMOUS]

CHENNAI

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The generosity of the local community added an intimate charm, with residents warmly inviting artists onto their rooftops and offering breathtaking views of mist-laced hills. Each day was a sensory delight with pleasant weather, nourishing local cuisine, and landscapes that stirred both awe and imagination. Time seemed to slow as brushes met canvas, capturing fleeting light and quiet beauty. Shared laughter, creative exchange, and moments of solitude blended seamlessly, making the experience as enriching as it was inspiring, leaving behind not just artworks but a renewed spirit.

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The event highlighted the growing impact and vision of the organiser- Hina Bhatt Art Ventures, which continues to play a significant role in supporting and promoting artists across India. Astitva brought together a diverse group of artists, providing a platform for creative exchange and meaningful engagement.

Senior artist Parmod Mann, visiting Udaipur after many years—his first visit being in 1988—expressed his happiness at returning and appreciated the invitation extended by Hina Bhatt Art Ventures.

The camp was also noted for its inclusive approach. Sculptors Renubala and Snehlata Prasad welcomed the participation of women, emphasizing that such opportunities are often limited in stone sculpture camps.

Senior sculptor Madhukar Wanjhari remarked that the country needs “two to three more organisations like Hina Bhatt Art Ventures,” noting that such efforts would contribute to a healthier Indian art market.

The sculptures created during the camp will become part of the upcoming HBAV Art Centre in Pune, reflecting a long-term vision of creating sustainable platforms for artists.

Through initiatives like Astitva, Hina Bhatt Art Ventures continues to strengthen the art ecosystem with a focus on inclusivity, professionalism, and national outreach.

The collection of sculptures will be open for public viewing at Takhman 28, Udaipur, throughout the month of June and July

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As cities expand and transform, public art offers a means to humanise urban environments, creating spaces for reflection, interaction, and collective identity. Beyond aesthetic enhancement, it fosters social engagement, encourages dialogue, and nurtures a sense of belonging among diverse communities. In an era marked by speed and fragmentation, public art acts as a cultural anchor, reconnecting citizens to place, history, and each other while contributing to more inclusive, meaningful, and emotionally resonant urban spaces.

The Zinnov Foundation Conference on Art in Public Spaces
10/1/2026
Freedom Park, Bangalore

Written by
Manju Prasannan Pillai, IPOS,
Chief PostMaster General, Kerela State (Retired)

The discourse on art in public spaces has been gathering momentum. The post-pandemic era realigned the need for public spaces as pivotal to community building. Community spaces help in engaging citizens and in forging identities. Art in public spaces is now a powerful transformational tool for well-being that transcends mere aesthetics.

The conference held by the Zinnov Foundation on 10/1/2026 on Art in Public Spaces was a well-timed endeavour to bring these discussions to the fore. Held in the iconic Freedom Park in Bangalore, at Barrack 12—which once housed prisoners post the 1857 mutiny—it presented an interesting backdrop.

The conference had three panels for discussion, each of which touched upon significant and specific aspects of public art. The first focused on the need for documentation and information with regard to public art in India, the challenges of accessing data regarding policy, legal safeguards, maintenance, and the longevity of artworks. The panelists were renowned art writer and curator Gayatri Sinha and Shatavisha Mustafi, the winning finalist of the open-call research scholarship from the Zinnov Foundation. It was moderated by Kamini Sawhney. Gayatri Sinha threw light on the historical events that led to the emergence of public art in India and highlighted the hurdles faced due to the lack of proper guidelines and legal safeguards. Shatavisha Mustafi shared her experiences during the course of her research and pointed out the lack of data regarding public art and the difficulty in accessing important information.

The second panel, titled Beyond Pedestals: Material for Art in Public Spaces, featured well-known sculptor Shanthamani Muddaiah and renowned artist Arun Kumar H G who is also the founder of the SARA Centre, Shimoga, discussing the subject of materials used for public art. Yamini Telkar, a renowned art curator and cultural expert, moderated the session. A lively discourse on the ephemerality of materials and the need to move away from conventional materials like stone and cement to lighter, more sustainable ones was particularly engaging. Both panelists stressed the need to use materials that allow the public to touch or feel the art installations. Such immersive engagement would only enhance the experience. The practice of distancing artworks from the public was seen as a thing of the past.

Shanthamani Muddaiah spoke about her use of charcoal and sustainable materials, and the need to lighten the footprint, which she felt was imperative in the long term. This viewpoint was reiterated by Arun Kumar H G, who felt that using local, site-specific materials lent greater meaning to sculptures. He spoke about the early challenges at SARA and how it has now grown into a centre that promotes strong sensibilities of conservation as well as aesthetics.

Yamini Telkar, drawing from her long experience in public art, emphasised the need to involve the sensibilities of local citizens to create lasting bonds with installations.

The third panel focused on the gap between policy and implementation in public art. The panelists—Manju P. Pillai, art writer and retired civil servant, and Tejal Kamble, research scholar and winning finalist in the open call by the Zinnov Foundation—discussed the challenges and hurdles of implementing public art policy.

Tejal Kamble narrated experiences during her research where incidences of huge gaps between conceptualisation, expenditure allocations, and actual implementation of public art works were glaring loopholes. She highlighted examples where a lack of clear accountability led to shoddy work and also discussed issues of longevity and maintenance. Manju P. Pillai spoke about the absence of policy as a consolidated framework or set of guidelines. She emphasised that it was imperative for a policy document to be in place to assist stakeholders and serve as a roadmap. Apart from a policy framework, implementation guidelines and single-window permissions by local bodies were necessary to facilitate quality work. Documentation by agencies such as the Delhi Urban Art Commission (DUAC) could be replicated elsewhere, and the Central Government could serve as an overarching umbrella to facilitate public art through a well-thought-out policy. At the implementation stage, urban local bodies could ensure quality execution.

Yamini Telkar spoke about the need to protect public art and make policy implementation accountable. To sustain legacy, citizen roles need to be intensified.

The conference discussed the challenges and hurdles of public art in India, the need to create frameworks, engage communities, go beyond beautification, and create legacies and cultural identities. It presented powerful ideas and opinions and actively engaged audiences and stakeholders.

There was also a film on Lalbagh created by Vaibhav Shah, which was immersive and intense. The idea that public spaces themselves can become works of art reiterated the need to protect the cultural legacy of the city.

The Zinnov Foundation’s endeavour to convene discussions on art in public spaces is commendable. It opens a dialogue that can pave the way for concrete action and lead to evolving trajectories for the future.

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