Ananya Mehra’s practice examines memory, material, and the quiet theatre of everyday interiors. Working across drawing and painting, she builds layered compositions where gesture meets structure and colour becomes a kind of archival trace.

Her recent works consider domestic space as a site of transformation—how surfaces record time, how light changes the meaning of objects, and how repetition can be both comfort and disruption.

Raghav Sethi works with form, repetition, and the tension between precision and improvisation. His practice moves between drawing and painting, building rhythmic fields that reward sustained looking.

Recent works explore how minimal shifts in line weight and scale can restructure an entire visual environment, turning restraint into intensity.

Meera Iyer’s work is rooted in image-making as observation—how the everyday becomes charged through framing, light, and duration. She builds compositions that feel immediate yet carefully structured.

Her recent series focuses on surfaces and thresholds, where soft tonal shifts create depth and emotional temperature.

Kabir Arora’s practice brings together material experimentation and sculptural thinking. His compositions carry a physical sense of weight, edge, and contact with space.

He is interested in how contemporary objects accumulate meaning through wear, surface, and the choreography of viewing.

Zara Khan works with layered imagery and restrained palettes, creating scenes that feel both intimate and cinematic. Her practice emphasizes atmosphere as a primary structure.

Across recent works, she explores how pattern and repetition can become narrative devices—holding memory, place, and emotion.

Dev Malhotra’s work is driven by process and structure—how systems of mark-making can generate feeling. He builds compositions through repetition, interruption, and compression.

Recent works explore the friction between control and chance, balancing crisp geometry with softened edges.

Priya Nair’s work draws from coastal light, vernacular architecture, and the small rituals of everyday life. Her compositions often begin from observation and become quietly abstracted through repetition.

Recent works explore how colour can carry memory and how soft tonal shifts can create a sense of weather and time.

Aarav Gupta’s practice investigates ornament, craft, and the ways pattern can be both decorative and conceptual. He works with dense surface logic, balancing intricacy with strong compositional anchors.

Across recent work, he focuses on repetition as a form of attention—how detail can build emotional and spatial depth.

Sana Rizvi’s work is grounded in drawing as a form of writing—building layered surfaces that hold gesture, correction, and trace. Her compositions often begin with line and expand into tonal fields.

Recent works explore the relationship between intimacy and scale, where small marks accumulate into larger atmospheres.

Ishaan Bose works with image and object as parallel languages. His practice explores how surfaces can behave like documents—holding time, compression, and residue.

Recent works move between painterly construction and sharper graphic structures, balancing softness with edge.

Leela Menon’s practice explores the boundary between abstraction and observation. Her works often begin from everyday scenes and become restructured through repetition, palette discipline, and calm pacing.

Recent works focus on how light and surface can produce narrative without relying on literal depiction.

Vikram Rao works across painting and object-led compositions, focusing on physical presence and material contrast. His surfaces often register as both constructed and worn, carrying a strong sense of contact with space.

Recent works explore how scale, rhythm, and repetition can produce a sculptural reading inside a flat plane.