‘Expanding Horizons’: New show in Delhi envisions art as a blueprint for tomorrow
‘Expanding Horizons: Ek Aur Duniya,’ Gallery Ragini’s new show, curated by Ina Puri, brings together a set of artists whose works depict ecological consciousness and borderless utopias;
In GR Iranna’s Silent Portrait (acrylic on canvas), you notice a striking interplay between the organic vibrancy of nature and the structured serenity of human presence. The tree, resplendent in its golden bloom, stands as a monumental figure against an earthy backdrop. Each leaf appears meticulously rendered, capturing a luminous vitality that contrasts sharply with the subdued, rusted tones of the ground and sky. Beneath this arboreal brilliance, a group of figures in vivid red robes gathers in quiet unity. Their minimalist depiction and collective presence evoke a sense of discipline and spiritual introspection, subtly juxtaposed with the chaotic but harmonious sprawl of the tree’s branches. The composition radiates an arresting balance of dynamism and stillness, as if nature and humanity are engaged in a silent dialogue, each complementing the other’s essence in an unspoken, eloquent exchange.
This is one of the many works of art that will be on display at a new week-long show, “Expanding Horizons: Ek Aur Duniya”, curated by the astute Ina Puri that opens at LTC Gallery, Bikaner House, in Delhi on Wednesday (January 15). Iranna’s work springs from deep-rooted nostalgia, Puri tells us in her curatorial note; “the colours and scenes are from his childhood and his deep connection to spirituality.” The exhibition, which marks a milestone in the journey of Gallery Ragini, now in its 20th year, brings together an eclectic roster of artists whose works traverse nostalgia, materialism, spirituality, and, most importantly, ecological consciousness. From young provocateurs like Arinjoy Sen and Gurjeet Singh to seasoned stalwarts such as Shobha Broota and Veer Munshi, the show also promises an intergenerational dialogue. Each artist’s voice is distinct, but their collective resonance underscores a shared urgency: to chart a new course (or, as the title suggests, an alternate universe) for humanity in the face of environmental crises.
Gigi Scaria’s acrylic on canvas painting features a surrealistic landscape, characterised by two isolated landmasses with structures resembling buildings or settlements perched on top
The quest for an alternate universe
Ina Puri, known for her curatorial dexterity, has deliberately chosen artists who challenge comfort zones. According to her, the project is an exploration of “resilience and hope”. Each artist, she says, has crafted their unique vision of a utopia, urging us to consider a future “where harmony replaces discord, and healing takes precedence over destruction.” A look at the works that are going to be part of ’Expanding Horizons’ reveals what Puri means. Gigi Scaria’s acrylic on canvas painting, for instance, features a surrealistic landscape, characterised by two isolated landmasses with structures resembling buildings or settlements perched on top. The landmasses are depicted as pinkish cliffs with sharp, angular cuts, which gives them a geometric, almost abstract quality.
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The buildings are stylised with a uniform, cubist aesthetic, showcasing simple rectangular shapes and small windows, rendered in shades of beige and yellow. The background is a plain, light teal colour, creating a sharp contrast with the cliffs and structures. Below the cliffs lies a barren, stone-paved ground in earthy tones, further enhancing the sense of isolation and detachment. The composition evokes themes of separation, isolation, and otherworldliness. It appears to be a thought-provoking and visually stunning piece, which possibly explores metaphoric ideas about divided communities or unreachable utopias. Riyas Komu’s textured wooden sculpture features a muscular male torso carved from wood, highlighting anatomical detail such as the chest and abdominal muscles. The torso has no head or arms, which draws our attention to the body’s physicality.
Riyas Komu’s textured wooden sculpture features a muscular male torso carved from wood, highlighting anatomical detail such as the chest and abdominal muscles.
Above the torso is a large, intricately carved lotus flower, a symbol often associated with purity, spirituality, and enlightenment in many cultures. The lotus emerges from the centre, adding a sense of elevation and contrast to the grounded strength of the torso. The structure’s base features stepped edges and etched outlines resembling a map, suggesting geographical or political connotations. The texture and natural grain of the wood are prominent, lending the piece an organic feel. The human form, geographic symbolism, and spiritual motifs collectively make the sculpture multil-ayered in its meaning.
Towards a better world
Among the other standout pieces is Manjunath Kamath’s terracotta installation, an ensemble of abstract scripts. Kamath’s work compels viewers to question the limits of language as a tool for understanding humanity’s pressing challenges. The forms evoke a tactile intimacy, as though the earth itself is whispering secrets about our fractured world. Equally poignant is Veer Munshi’s haunting depiction of the Jhelum River. Neither romanticised nor sanitised, Munshi’s river serves as a metaphor for Kashmir, embodying its complex layers of history, pain, and potential. The river, winding through time, carries with it echoes of longing for a home that transcends physical boundaries.
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Tilak Samarawickrema’s works, infused with the heritage of Sri Lanka, offer a meditative counterpoint. His art, rooted in traditional weaving techniques but imbued with architectural precision, becomes a metaphor for bridging the past and future. Shobha Broota’s contribution defies the limits of age and convention. Her abstract works remain ethereal, engaging with the spiritual void that materialism often leaves behind. Along with Scaria, Jagannath Panda brings his distinctive urban critiques to the fore, dissecting the relentless consumerism of modern life. Their works juxtapose our everyday realities with glimpses of possible utopias, forcing us to confront the costs of our collective greed.
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The exhibition, thus, pivots on several critical themes, including ecological consciousness, materialism and consumerism and borderless utopias. In an age when possessions often define an individual’s worth, the artists dismantle the fetishisation of objects, exposing its hollowness. Iranna’s Silent Portrait encapsulates this sentiment. It takes us into a twilight world — an orange dusk where reflection takes precedence over accumulation. Vivek Vilasini beckons us to envision a harmonious coexistence with nature even as we stare at the spectre of climate change that seems to loom large with every passing day. Central to the exhibition is the idea of a “utopic duniya (world)”. Far from naïve idealism, this acknowledges the ruptures in our world while proposing art as a salve. It’s not about escaping reality but imagining a better one. This is not just art for art’s sake. This is art for the sake of tomorrow. “This exhibition is a testament to our journey so far and symbolises our commitment to fostering a space for transformative conversations through art,” says Nidhi Jain, founder of Gallery Ragini.