Category: Art Exhibition

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

Art Exhibition by contemporary artist Dhiraj Hadole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.dhirajhadole.com

Holding Space: Dhiraj Hadole’s Geometry

Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.

His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.

At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.

The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.

Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.

What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.

These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  :Director – Magnifique Décor and Mangal Movements Mumbai

—-Sushma Sabnis Mumbai (December 2025)

https://www.youtube.com/shorts/zrHgAgREL1k

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Dhiraj Hadole 

Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.

His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.

Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.

These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.

Pravin Waghmare

Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.

Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.

Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth. 

Swapnil Sangole

Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.

His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.

Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  : Director – Magnifique Décor and Mangal Movements Mumbai

https://www.youtube.com/shorts/CdOI9KaplkQ

 

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

 

 

From: 14^th to 20^th October 2025

“UJJAL”

An Exhibition of Paintings & sculptures by 6 contemporary renowned artists – Bappa Maji, Pravat Manna, Subrata Paul, Sudeshna Sil, Sudip Biswas, Tanmoy Hazra.

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 9163718889, +91 9831307228

UJJAL” — A Radiant Confluence of Painting & Sculpture
14 – 20 October 2025 | Jehangir Art Gallery (Auditorium Hall), Mumbai

The group show “UJJAL” displays paintings and sculptures by six contemporary Indian artists: Bappa Maji, Pravat Manna, Subrata Paul, Sudeshna Sil, Sudip Biswas, and Tanmoy Hazra.

“UJJAL” (meaning bright, luminous) draws viewers into a deep conversation with form, colour, memory, myth, and nature. These six artists, regardless of their fields, combine tradition and novelty, the physical and the lyrical, the individual and the general.

This show was inaugurated on 14th October 2025 by Mr. Brahmanand S. Singh(National Award Winning Filmmaker, Author & Mentor)

Bappa Maji of Kolkata sculpts sacred and animal forms using the Bengal Dokra tradition. He reinterprets mythological Vahanas in new materials. His art considers humans, animals, myth, and daily life, prompting viewers to feel respect and think.

Pravat Manna uses paint to change the canvas into a landscape of feelings, using oil, acrylic, and mixed media. Through layered compositions, he explores memory, identity, and humanity, using technical skill and personal symbolism.

Active since the late 1990s, Subrata Paul sculpts, often with bronze and wood, moving beyond mere replication to reveal the hidden energies of form. His sculptures communicate human feelings and interactions, using both old and new artistic methods.

Sudeshna Sil’s work reflects her sensitivity, influenced by Bengal’s nature and art training. Through watercolour, mixed media, and fabric, she portrays nature’s depth, offering escape from city life.

Sudip Biswas, a notable modern Indian painter, creates stories of quiet feelings, cultural remembrance, and tradition. Benaras and the Ganga influence his paintings, which combine abstraction and figuration. His recent awards highlight the impact of his work.

The exhibition also includes Tanmoy Hazra’s work, which is characterised by its expressive and innovative qualities and engagement with diverse materials, form, context, and meaning.

The six artists engage in a complex dialogue, rich with layers of myth and matter.

“UJJAL” presents a unique mix of artists, allowing art lovers to dive into modern Indian visuals that are both classic and forward-looking. We welcome everyone to experience these artworks at Jehangir Art Gallery.

Sushma Sabnis – Mumbai.

“UJJAL” An Exhibition of Paintings & Sculpture by 6 renowned artists in Jehangar Art Gallery

From: 14^th to 20^th October 2025

“Visthapan”

A Solo Show of Recent Work by Vishwa Sahni

VENUE:

Jehangir Art Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 9324647023

“Visthapan” Solo Show of Recent Work by Vishwa Sahni in Jehangir Art Gallery, Kala Ghoda, Mumbai from 14^th to 20^th October 2025

This show was inaugurated on 14th October 2025 by Ms. Manju Ramesh Chouhan(Staff member of Jehangir Art Gallery) in the presence of Mr. Padmanabh Bendre(Eminent Artist), Pradeep Chandra(Eminent Photographer & Author), Mr. Uttam Jain(Patron Hindustan Chamber of Commerce), Mr. Snehal N. Muzoomdar(President, Indian Musicological Society), Mr. K.K. Tated(Chairman, committee to monitor Animal Welfare) among others.

Vishwa Sahni’s painting seems to have been focused for some time on the contention that abstraction, if allowed to breathe in a deeper pictorial space, can maintain visual opulence without drifting too far from its essentially two-dimensional syntax. Among a generation of artists who matured on this side of painting’s pluralist expansion, where each painter’s style, look and touch was far more varied than that of their predecessors, Sahni held to a firm figurative scaffold based on migration both perceived and imagined. Though the iconography in this recent work remains readable each painting’s horizon is still easy to find, there is in newer panels a softening of the edges and a swelling of forms that now shimmer behind translucent washes instead of bending, as they once did, into each other’s space. From an optimal distance coerced from the viewer by the five feet by nine feet spread of their frames their reconfigured cohesion seems to rely less on drawing and more on a spontaneous manipulation of hue and texture.

The resulting airiness is a clear departure from his earlier work, which is reprised in this exhibition, an example of his harder-edged shapes, apparently reconstituted during the painting’s many stages of development so as not to diminish the careful coordinating of its unique structural invention. To drift from the success of this method is risky, for what’s been so appealing about Sahni’s work until now has been precisely its interconnected complexity. The changes seen in this exhibition may be attributed in some measure to his establishing a studio in Mumbai, a move from country life in Madanpur, for reasons linked to the landscape itself, resetting a painter’s perspective.

A clue to the path taken in this shift between the earlier compositions and these newer, cloudier apparitions may be found in seven-foot square painting representing the artist’s trials at keeping the structure fixed tighter to the surface. Here, a familiarity with Sahni’s elevated horizon line helps the viewer read the ghost of a landscape that still exists despite the missing diagonals and story-book trees of his earlier work, elements that had once supported the artist’s penchant for excavating spatial illusion with little cost to a lively surface. Visthapan marks the change as its simplified shapes are not immediately recognizable as landscape elements. They also seem unusually tolerant of each other’s position in the composition.

And yet to my eye the most adventurous of the newer canvases in the show, still owes something to the lexicon of the earlier work, though here it seems Sahni’s method has turned to a new and pronounced improvisation. Visthapan’s surface remains in a perturbed state. Edges are ragged and makeshift. Translucency dominates. There is even a gestural coarseness replacing what was once a controlled chaos of endlessly suggestive shapes. The color alone in Visthapan provides the link to earlier work, being mostly middle tones of contingent primary and secondary hues.

For anyone who has followed Sahni’s work these many years, an effort to catch up to where he is now will require diligence, which I believe is a fair expectation for him to make as his paintings have always appealed to a visually smart audience. Because his abundant inventiveness had constituted as near a legible pictorial language as created by any painter in recent memory, encountering its contraction will demand a real and unavoidable learning curve. Sahni is a painter whose strength had always been his ability to develop variations on a theme. The construction of an intelligent, readable and teasingly ambiguous pictorial image, still speaks to a continuity of vision.

Sahni has never been a painter fixated on concocting a new look, and there is no indication here of chasing novelty, nor is there any hint of applying arbitrary effects to avoid comparison with contemporaries. From the beginning his work has been a conscious adaptation of migrant landscape elements knit tightly into compositions that owed a great deal of their cohesion to those compositional properties that as any instructor knows are maddeningly difficult to formulate verbally but can be appreciated in its many variations. As galleries continue to hawk brightly colored things apparently meant for the simpler aim of accessorizing the expansive blank walls that once provided inexpensive working space for artists, it gives one hope to watch a painter keep to self-imposed limitations, not in spite of, but because there is more than enough room within a rectangle of canvas to address a thoughtful and historically aware sensibility.

—Abhijeet Gondkar

October 2025, Mumbai

 

“Visthapan” Solo Show Of Recent Work By Vishwa Sahni In Jehangir Art Gallery

8^th to 14^th October 2025

“Wandering Eye”

An Exhibition of Photographs by Sateesh Dingankar

This show was inaugurated on 8^th October 2025 by Honourable Guest – Prakash Bal Joshi(Veteran Visual Artist), in the presence of Dr. Sanjay Bhide ( Founder, Convenor and secretary TACCI), Mukesh Parpiani(Legendary Photojournalist)

Photography has always been a way of holding a mirror to the world. But in these images, the mirror is tilted—revealing not only what is seen, but also what is suggested, what lies between perception and imagination. These photographs by Sateesh Dingankar listen to the quiet gestures of the world— a twig casting shadows that dance, a crack turning into an exclamation, a tree trunk whispering a human form.

Light bends, metal shimmers, rust deepens into memory. Ants march, a snail hesitates, nature leans against the man-made, and even what is discarded smiles back. In this exhibition, photography is not just documentation, but meditation. It is a practice of finding poetry in surfaces, gestures, and fleeting light—reminding us that the extraordinary is often hidden in plain sight.

—-Prakash Bal Joshi- Eminent Artist

WANDERING EYE An Exhibition Of Photographs By Sateesh Dingankar In Jehangir Art Gallery