Tag Archives: Indian Art

The Visual Artists in the #SALA 2019 Festival

Lucky S.F. Bay area denizens of the high-brow variety, you have yet another event to look forward to that is sure to amplify your festive Dussera season this year. If you are scurrying off to the many poojas, family gatherings and Golus (display of dolls), be sure to add this event to your calendar!  

Starting Sunday, October 6th from 12pm – 5pm, the beautiful environs of Villa Montalvo is home to the South Asian Literature & Arts Festival – SALA 2019. This event, the first of its kind in the US, runs from October 6th – 13th, showcasing a grand variety of visual arts, performing arts, poetry, book readings and panel discussions. 

Visual Arts @ SALA 2019:

Rekha Roddwittiya

Visual arts enthusiasts have special treats that thrill and educate. This event presents a great opportunity to meet with award-winning luminaries like India’s leading contemporary artist Rekha Rodwittiya whose work with distinctly feminist narratives has received critical acclaim. In a discussion titled Rekha @ 60: Transient Worlds of Belonging, Dr. Prajit Dutta of Aicon Gallery, NY will be speaking with Ms. Rodwittiya. 

Priyanka Mathew, Principal Partner of Sunderlande New York – an art advisory with a focus on South Asian art, presents an exemplary exhibition titled ‘Revelations: The Evolution of Modern and Contemporary Indian Art’. The show highlights works by Jamini Roy, Sanjay Bhattacharya, Krishen Khanna, Anjolie Ela Menon, Shobha Broota and G.R Iranna to name a few.

Also featured is a conversation with Dipti Mathur, a local bay area philanthropist and well known collector of modern and contemporary South Asian art. She has served on the board of trustees of several museums and is a founding member of the Asian Contemporary Art Consortium, SF.  

Deepti Naval

One of the highlights of the program is well known actor, painter and poet, Deepti Naval. U.C Berkeley professor Harsha Ram, will moderate a program titled “An Elaborate Encounter with Deepti Naval”, as part of the Confluences – Cinema, Poetry and Art segment. 

Cinema @ SALA 2019: 

Vikram Chandra

Indian cinema has a great representation at SALA 2019! The festival offers up a chance to interact with the men behind the popular Netflix original series ‘Sacred Games’, in two separate programs.

The trio of Varun Grover, Vikramaditya Motwane and Vikram Chandra will be interviewed by Tipu Purkayastha on Oct 6th as part of the opening day of the festival in a program titled ‘From the Sacred to the Profane’

A special event on Friday, Oct 18th tilted ‘From Text to Screen’ will feature Tipu Purkayastha . In conversation with him is noted director, writer, and producer, Anurag Kashyap. This program offers us an interesting perspective into their creative minds!

Literature @ SALA 2019: 

The literary world boasts of several names from the South Asian diaspora who decorate the local, national and international stage. SALA 2019 proudly presents writers and poets like Vikram Chandra, Minal Hajratwala, Shanthi Sekaran, Nayomi Munaweera, Raghu Karnad, Athena Kashya and Tanuja Wakefield to name a few, who will share their work in readings and discussions. 

Also being represented at the festival is the emerging Children and Young Adult genre of writers. Curated by Kitaab World, Mitali Perkins and Naheed Senzai in a program titled The Subcontinent’s Children. 


Montalvo Arts Center and Art Forum SF, in collaboration with UC Berkeley Institute of South Asian Studies are jointly bringing to us one of the largest collections of contemporary South Asian writers, artists, poets, and personalities from theater and cinema. 

The opening day features various programs like art exhibits, panel discussions with internationally renowned writers and filmmakers, hands-on art activities, henna artists and dance performances. There are food stations offering up the many flavors of South Asia. This family-friendly event includes book readings, storytelling and hands on crafts for children. Visitors can also avail themselves of an art and literature marketplace displaying Bay Area artists and Books Inc. book sellers.  

The festival, the largest of its kind in the US is brought to us by Art Forum SF, a non profit that strives to promote emerging  visual, literary and performing art forms from South Asia.

Montalvo Art Center is well known for its mission in advancing cultural and cross-cultural perspectives, nurturing artists by helping them explore their artistic pursuits on their historic premises.

Free shuttle buses are available from West Valley College to aid festival goers.

Pavani Kaushik is a visual artist who loves a great book almost as much as planning her next painting. She received a BFA from the Academy of Art University, San Francisco. Her new avatar requires creative juggling with the pen and the brush.

This article was edited by Culture and Media Editor Geetika Pathania Jain, Ph.D.

India Currents is a media partner for SALA 2019.

What is Mithila Art?

There is a distinct nip in the air as the calendar inches towards Christmas and the approaching winter break. After the eggnog has been consumed, gifts unwrapped and holiday visits checked off, there is still the matter of keeping hands and minds busy with indoor activities. Here is a great option for those moments when you hear the dreaded “I’m bored!

San Francisco’s Asian Art Museum is currently home to a wonderful exhibit featuring paintings from the Mithila region of India. Aptly titled ‘Painting is my Everything’ – the exhibit showcases wonderfully detailed, vivid representations created by some of the foremost of Mithila artists. This style, also known as Madhubani painting, has gained in popularity since the 1960s.  Rich in pattern and color, it is not only a feast for the eyes but also inspiring in its content.

Interspersed among the art on the walls, are short video interviews with the artists whose hands shape this rich legacy. The documentaries help put a face to names like Dulari Devi, Dr. Rani Jha and Shalinee Kumari;  women who have taken the art form, made it their own, and are ushering it into the contemporary world of today.

The Artists of Mithila

How is a work of art created? What happens at the moment of creation? How does an apparently everyday scene take on a distinct nuance and magic through the language of art? And how can such a creation shape the world around it?

Art and its expression go beyond stylistic representations and labels. For the artist the process of creating takes precedence over all else. Yes, there is the commercial aspect to the making and selling of work that can be a motivator. But if you ask artists why they create, they will tell you that they do it because they MUST. It is an extension of themselves. It is as much a part of their identity as the color of their eyes. Creating their art is their voice.

Especially when the expression is part of a larger identity – a community spirit. People in the Bihar region of northern India have been creating wall murals since times immemorial. Mythology has named this region ‘Mithila’ and its people continue to identify with it. The Indian epic Ramayana describes the beautiful art covering the walls of the kingdom of Mithila to celebrate the wedding of their Princess Sita with Rama, the Prince of Ayodhya.

Another important feature of this form of art is that traditionally women were its guardians. Female hands created the murals and adorned the walls of their homes to commemorate special occasions. It was up to the women of the villages to keep the art alive, safeguarding their distinct styles marked by caste differences, and passing it on, along with the folklore, mythology and customs inherent in its creation.

Over time, with the popularization of Mithila art, the responsibility of creating these wonderful murals is now being shared by both genders. And, the style is now showcased on paper, fabric and all manner of materials.

Mithila Art Institute

Founded in 2003 in Madhubani, Bihar, the Mithila Art Institute received initial funding from the estate of Raymond Owens and the Ethnic Arts Foundation. The institute’s focus is the to shape the next generation of Mithila artists. Teaching traditional conventions, imagery and techniques, the Institute’s curriculum also allows for personal exploration and stylistic variations. The Mithila Art Institute has successfully trained and launched artists since its inception. It is regarded as a major cultural institution in India. Several graduates have received national and international recognition and many have been featured in exhibitions, books and articles in both in India and across the world.

Dr. Rani Jha is a Master Painter and instructor at the Institute. Her own work often deals with women’s issues and stems from her personal life experiences. She is proud to represent and celebrate women in all aspects of life. In 2015, Rani Jha was a Visiting Artist at Syracuse University. “I am Mithila’s daughter”, she states proudly in her interview documentary.

Contemporary Nuances

Among the many decorative and mythological motifs at the Asian Art Museum exhibit, are some striking pieces with contemporary messages. In an age replete with social and political movements jostling for space on the world’s stage, these colorfully artistic voices seem to speak loudest of all!

Sita Devi was one of the earliest trailblazers of the Mithila art community. She was among the first artists to paint on paper. In 1976 she traveled to Washington D.C to participate in the Smithsonian’s annual Festival of American Folklife’s “Old Ways in the New World” demonstration program series. Included in the exhibit is one of her paintings which documents her visit. Iconic monuments like the Capitol Building, Lincoln Memorial Reflecting Pool and Arlington National Cemetery have been captured via the lens of her imagination in a painting titled ‘Monuments in Washington, D.C’.

Shalinee Kumari is one of the younger artists who is changing the tradition of Mithila art with her intensely personal narratives of self-expression. She draws from global subjects that also impact her life and community. Topics like gender-equality, women’s rights, terrorism and global warming come alive under her painstaking brush strokes. She was the first graduate of the Mithila Art Institute to have a solo exhibition at the Frey-Norris Gallery in San Francisco in 2009. Shalinee’s painting titled ‘Women’s Power’ is a celebration of the Devi and by extension of womanhood, in its representation of a three-headed, multi-armed goddess standing atop a lotus. In her hands she holds symbolic objects associated with various Hindu deities. The lower half of her body is depicted in the form of ‘Ardhanarishwara’ – a half man – half woman representation of the God Shiva. Beneath this form lie male corpses. It is a symbolic but succinct declaration of the innate power of women.

Gopal Saha is one of many male artists whose work has a distinctive quality to it. A tea stall owner, Gopal took up painting after an injury caused him to be physically challenged. He is known to depict scenes from everyday life around him. Gopal’s painting titled ‘Railway Station’ makes a notable impression. A family of four is shown at a ticket counter purchasing a fare to board a waiting train. Both the locomotive and the subjects are rendered in the stylized manner of the art form. At the same time, attention to details like the cap worn by the driver and guard, and mechanical elements of the train itself are not overlooked. Mr. Saha’s work is considered an important part of the history of Mithila art. 

Artist and teacher, Dulari Devis saga of personal transformation deserves mention. Living a life of servitude in the Ranti area of Bihar, Dulari was inspired by the work of artists in whose homes she served. She received training from Karpoori Devi, an established Master painter. Now, Dulari Devi is a herself Master Painter and Instructor at the Mithila Art Institute. She received the State of Bihar Award for Excellence in Art in 2013, and authored her award winning autobiography ‘Following My Paintbrush’, published by Tara Books in 2010.

Mithila artists often use their work to document life around them, both as it applies to them locally and on the larger world canvas. A wonderful depiction of current affairs is Dulari Devi’s painting documenting Indian Prime Minister, Narendra Modi’s campaign visit to Bihar leading up to the 2014 national election. Accompanied by his staff, he is seen flying in a helicopter. The artist has managed to show the helicopter via the lens of her imagination – adorned in traditional patterns and accompanied by a flock of birds flying above it’s stylized form. The gathering of rural womenfolk welcoming his arrival, speaks to the significant percentage of women who make up Bihar’s electorate.

Dulari, Shalinee, Rani and others like them have overcome significant economic and social hardships. Art, as their self-expression has given them legitimacy and a personal identity. Their journey is a testament to the place this art form has acquired in the world today.

Mithila’s children have joined their voices and hands to keep her traditions alive for the times to come.


Painting Is My Everything – Art from India’s Mithila region;  is currently exhibited at the Asian Art Museum.

The exhibit runs from Sept 7th – Dec 30th, 2018.

Asian Art Museum
200 Larkin St
San Francisco, CA 94102
Pavani Kaushik is a visual artist who loves a great book almost as much as planning her next painting. She received a BFA from the Academy of Art University, San Francisco. Her new avatar requires creative juggling with the pen and the brush.



“Textured Triumphs” – Basuki Das Gupta

She draws you in.  Dominating the space inside you… her eyes half-closed, her manner very still.

Upon her forehead is a massive red Bindi that captures your attention. Her many hands jut out about her form, meshing with snaking vines, leaves and foliage.

She is cloaked in a primordial stillness –  as she sits cross legged, in Padmasan.  

Her mouth is unmoving, painted red. Yet, she speaks to you of things she holds within herself;  the many-layered, many-nuanced feminine energy. Her voice is the embodiment of the Positive, of all possibilities, of the Divine

Her names are many… Devi Ma… Kamala… Durga…  Bhavya

She is ever-changing in all ways but remains the same in an elemental sense – as “Shakti” – Strength. 


From her origins in the musty air of West Bengal’s Bishnupur, she has travelled across the seas to be amongst us.

And the man who has led her to us is Basuki Das Gupta.

She has been depicted several times over, in as many styles.  Basuki’s hands have given life to his personal vision of Her. She has been honed, layer upon layer, from many different materials – wrought by various tools, shaped by hands that speak their own language.

A language of inspiration, of childhood memories enriched by temples fashioned with mud and clay, walls decorated with relief sculptures – replete with the treasures of myth and lore.

Childhood Experiences: 

Children form strong bonds and memories by internalizing through “touch'” – for something to be “real” to them, they have to touch and explore it. This is why children’s museums have ‘Tactile play’ as part of their exhibits. And this is also why children’s toy design is a huge industry!

Basuki’s childhood explorations in the famed terra-cotta temples of Bishnupur is the stuff of storybooks. He is open and candid about his experiences, refreshingly child-like in his expression. To hear him relate tales of his life in the village, is like a trip down memory lane to the “Malgudi Days” of the 1980s. He speaks of roaming the halls of the temples, listening to music, dancing to its tunes, with an effervescent group of friends and family – a full, rich, sensory experience.

“Nature was our playground,” he says with a laugh. Life, for the young Basuki was made all the more real, because he was able to imbibe, touch and experience all of it up close. And of course it made an impact on a fertile mind like his. His greatest takeaway were the terra-cotta reliefs adorning the temple walls, begging to be caressed, to be committed to memory.  And commit them he did. It shows in every textured layer of his work.

Despite the sensory bounty of his childhood days, Basuki did not harbor aspirations to become an artist. There was no conscious thought that led him down that path. The lively cultural elements around him inspired his creativity and he felt intuitively drawn to music and painting. A visit to the famed Shantiniketan – Viswa Bharati University in Kolkata, further solidified his interest. He remembers his family’s unenthusiastic reaction to his decision to study Fine Arts at the distinguished institution, founded by the legendary Rabindranath Tagore. His father, a school teacher; was anxious that he pick a career path that was more financially promising! But in the end, Basuki prevailed.

Shantiniketan and Beyond: 

The informal atmosphere at Shantiniketan greatly aided creativity of all sorts. To a small town boy, this translated into free form exploration, which he enjoyed and thrived in. He felt truly at home there. “I learned to listen to my heart beat,” he states. Drawing inspiration from the work of great stalwarts like K.V Subramaniam, and Ramkinkar Baij, Basuki honed his skills and completed his Bachelors degree in Fine Arts in 1992. The next challenge came when he decided to pursue his Masters degree, in Mural Arts. He had to learn to separate his skill from true expression – and find his unique style, his artistic vocabulary. To quote the artist, “Where does Basuki live inside my art? I had to find the answer.”  It was a slow process of self discovery, with its usual drama of ups and downs. Every little bit added value to his journey, and he completed his Masters program in 1999.

Right out of Shantiniketan, Basuki sought employment as a teacher to help continue his own work. Channeling his love for music by composing songs for street theatrical performances, added another layer of exploration. But the bustling metropolis that was Kolkata, stifled him.

When a teaching opportunity in Tumkur (Karnataka) came his way, he took it.  This move would be the turning point in both his artistic and teaching journeys.

“I can see the sky here!” he exclaimed. This feeling of space took him deeper, helping him strive for broader artistic avenues in his work.

Being a teacher also taught him more about how to view the world and the possibilities that abound. Basuki has been a visiting faculty member at the National Institute of Design (NID), Gandhinagar (Gujarat) since 2010. He teaches a Masters course in Composition, using a hands-on, experiential method of exploration. His students come from various academic backgrounds – engineering, architecture as well as fine arts.

He prefers to teach using integrated, non-traditional methods and believes that the experience is richer when you learn in this manner. “Leaving yourself open to new experiences is the most important part of teaching,” he says.

The apple did not fall far from the tree after all – with the son taking on the role of his father!

Artistic Process:

“For me, Art is oxygen!” Basuki states, without any pretensions. If he does not create, he ceases to exist. He is simply matter-of-fact about this reality.

He maintains that there is no need to isolate yourself from life in order to create artwork of consequence. Creativity needs to happen in the midst of life with all its dramas.

Art is a great way to release negative energy,” states Basuki.

Drawing inspiration from everything around him, he “constructs” his mixed media paintings using paper, hardboard, and acrylic paints. To watch his creative process is a little like peeking into the inner recesses of our own selves. Each step needs its requisite time, patience and structuring – to formulate and “gestate” – as with a child within a womb; taking shape gradually under his hands.  He cuts shapes, gluing, painting over, and arranging them around his central sketch. Sometimes the idea takes hold in his imagination and he works to translate it into physical form directly. But the starting point is always a blank canvas.

Many artists find the idea of a blank canvas intimidating. I asked Basuki how he views it. “It is like a balanced note – playing continuously,” he smiles. “All you have to do is touch your brush to its resonating surface. It starts a vibration. Then the next step is to add another element or line to balance that vibration. And on it goes!”

For Basuki, the music of colors is just as important as the hues they speak with. His work pops with bold, vibrant pigments, enriching and enhancing them to create masterful textural triumphs!

Central Theme:

Basuki relates to textures with an intrinsic emotion that goes beyond just the academic ideals of Art. Every piece he creates has a tactile quality to it.

The ‘Devi’ element, is a central theme of Basuki’s work. He very rarely portrays male figures, and when he does, it is usually paired with a female form.

For Basuki, ‘Devi is a personification of his mother. Through his various portrayals of her, he pays homage to his mother’s influence in his life and work.

He visualizes his mother as a woman of great energy and zeal for life – picturing her with “many hands” – because she managed to do so much all at once.

She appears in his work frequently; sombre at times, vivid and victorious at others; but always dominating. A larger than life presence – holding the viewer captive with her gaze.

A powerful portrayal of ‘Shakti’ – Strength.

Career & Artistic Influences: 

With his move to Tumkur, Basuki taught at a school, while creating his art on the side. His wife Madhumita joined him, and the birth of their daughter Aronya added another element to their lives. The responsibility of a child  goaded Basuki to show his work around in the art galleries in Bengaluru. In his practical manner, Basuki philosophises that insecurity gave rise to opportunity!

A couple of failed exhibitions followed. Then a chance meeting at an art opening with senior artist,  S.G. Vasudev, helped turn the tide quite literally. Seeing the potential in his work, the stalwart graciously provided introductions to local galleries. He was a source of great moral support, a fact that Basuki is forever grateful for.  Kynkyny Art Gallery was the first to represent Basuki. And it was the beginning of his artistic ascent, to become one of the leading contemporary Indian artists of our time. His work is now represented by several well known galleries in India.

In his personal life, Basuki credits his wife as his partner in the truest sense. It takes courage to share your life with a creative sort, offer support and be a steady presence through their journey. Madhumita is his pillar of strength,  giving him a sense of reality and a constant support. His daughter, Aronya, has chosen to explore her creativity through classical dance –  a source of great pride for her father.

Another source of pride for this talented artist, is his upcoming trip to the S.F Bay Area. Sonia Patwardhan‘s venture Laasya Art, is helping promote Basuki’s work.  In his honest, engaging manner he confesses that it fills him with equal parts excitement and anxiety, since it is his first trip to the United States!  As for us, the viewers, it offers a rare artistic treat.

It is our chance to view the Symphony of Textures; charting the journey of a child – who became a man – but always remained an artist at heart.


Pavani Kaushik is a visual artist who loves a great book almost as much as planning her next painting. She received a BFA from the Academy of Art University, San Francisco. She has held art shows in London, Bangalore and locally here in California.

“TEXTURES”  (May 5 – May 20)

Basuki Das Gupta 

316 El Verano Ave, Palo Alto, CA 94306



(415) 645 3089