“Yellow Canvas 2026” A Children’s Art Exhibition At Kamalnayan Bajaj Art Gallery I 18th & 19th April 2026

From: 18th & 19th April 2026

“Yellow Canvas 2026”

A Children’s Art Exhibition

VENUE:

Kamalnayan Bajaj Art Gallery

Bajaj Bhavan, Ground Floor, Jamnalal Bajaj Marg,

226 Nariman Point, Mumbai 400021

Timing: 11am to 7pm.

Contact: +91 9975781972

www.yellowcanvas.in

The Yellow Canvas Platform presents Yellow Canvas: A Children’s Art Exhibition 2026, an initiative led by Sohan Kumar Choudhary, an alumnus of Sir J.J. Institute of Applied Art. Conceived as a space to recognise and nurture emerging talent, the exhibition brings together a diverse body of work by young artists trained under his guidance, with 81 students from Sr. KG to Grade 12 participating in this edition.

At its core, the exhibition celebrates creativity as an essential and deeply human faculty. It reflects a pedagogical commitment that moves beyond technical instruction, encouraging students to develop independent visual languages while grounding them in strong foundational and advanced artistic principles. Over the years, many participants from this ecosystem have progressed into fields such as applied art, product design, graphic design, fashion, and interior design, with several establishing themselves as practicing professionals, educators, and international exhibitors.

This edition expands its scope by including works from students based across the United States, Germany,  UAE, Armenia, Canada, Belgium, Thailand, Netherlands, and Singapore. The exhibition thus situates itself within a broader global dialogue, while remaining rooted in Indian artistic traditions, including engagements with folk forms and regional visual cultures.

Yellow Canvas 2026 is not merely a display of youthful expression but an evolving platform that fosters discipline, imagination, and cultural exchange. By creating an environment that is both structured and exploratory, the initiative underscores the importance of sustained engagement with art from an early stage.

The exhibition stands as a testament to the role of mentorship in shaping future creative practices, offering young artists both visibility and encouragement in their formative years.

The Participating Students:

Siddhansh Romin Mehta, Aaryan Chandresh Soni, Anoushae Aga, Narek Mihranyan, Ye Htut Naing, Aanya Potdar, Ariha Romin Mehta, Ivaan Sancheti, Ivaan Potdar, Naavya Pratik Shah, Ye Htut Bo, Ayansh Hiren Vora, Kabir Kurien, Leonid Luchkin, Raehan Aga, Avni Hitesh Gurav, Nirvi Ankit Mehta, Smera Sanghvi, Tahmir Patrawalla, Veera Arvind Kumar Jain, Agastya Jhaveri, Annirudh, Anvay Shah, Dev Sushil Kothari, Dhrishay N. Mehta, Hitansh Ankur Kothari, Kimaya Padhye, Mihaan Ajmera, Myra Shah, Rehaan Sahil Jhaveri, Aarav Pankaj Dhawan, Aariv Sanghavi, Anaaya Deep Shah, Joel Varghese, Yashika Jain, Hiya Shah, Kayan Shah, Kiah Rohan Shah, Mohnish Sajnani, Mysha Jain, Riaana Kartik Shah, Saathvik Subrotho Rana, Saisha Dalvi, Yashika Chandresh Soni, Aahana Gaurav Koradia, Aarav Jain, Hia Kaushal Shah, Himaayaa Raghani, Nathanael Nadal Suganth, Tanush Jani, Vviyaa Ritesh Jain, Aalia Kacheria, Aarav Dave, Aditi Kothari, Akshaj Sanghvi, Anay Aadish Shah, Anaya Meghani, Antak Sanghvi, Dhruti Vrajesh Shah, Dhruvi Dassani, Dravya Dilip Vardhan, Nisreen Sanchawala, Vivaan Shah, Vyom Goenka, Aamena Lokhandwala, Amatullah Shabbir Masalawala, Anshul Minda, Ayaana Agarwal, Hufriya Italia, Livana Sethi, Owee Vinayak Hendre, Vritti Prem Avichal, Aarya Sharma,  Ananya Subrotho Rana, Diya Vakil, Natasha Kalpesh Rathod, Nithya Sharad Avhad, Tia Bhavik Shah, Manav Gorakh, Naffeesaa Murtazza, Taksh Gagan Kothari.

This show was inaugurated on 17th April 2026 by Honourable. Chief Guest H.E. Aliaksandr Matsukou (Consulate General of the Republic of Belarus in Mumbai)

Guests of Honour :

Ms. Nidhi Chaudhary (IAS) Director, National Gallery of Modern Art, Mumbai, Prof. G. G. Waghmare Former Director, Directorate of Art, Government of Maharashtra Former Dean, Sir J. J. Institute of Applied Art, Dr. Uttam V. Jain Patron, Hindustan Chamber of Commerce, Mumbai, Ms. Dolly Thakore Indian Theatre Actress & Casting Director Malti Jain Director- Public relations & Social Philanthropy, Mr. S. P. Ahuja President – All India Anti Terrorist Front, Mumbai, Dr. Aneel Kashi Murarka Industrialist & Indian Philanthropist, Tassnim Nerurkar Television Actor, Dishita Sehgal Child Actor, Anngad Raaj Child Actor.

 

“Yellow Canvas 2026” A Children’s Art Exhibition At Kamalnayan Bajaj Art Gallery I 18th & 19th April 2026

 

“IN THE FACE OF IT ALL”, Solo Exhibition Of Sculptures By Dr. Venkata At Jehangir Art Gallery

Renowned sculptor Dr. Venkata presents “IN THE FACE OF IT ALL”, a solo exhibition of his recent sculptures at Jehangir Art Gallery, Kala Ghoda, Mumbai, on view from 14^th to 20^th April 2026, from 11 am to 7 pm.

Working with bamboo, paper, resin, and draped fabric, Dr. Venkata transforms humble materials into striking sculptural presences. At times enhanced with paint, the works take on a semi-realistic quality, further enriched by the enduring sculptural traditions of the temples of Andhra Pradesh. The result is a compelling visual field where humanity and environment remain inseparably bound in a tense coexistence.

Nature, in this exhibition, is not passive scenery but the structuring principle of existence. Fishermen, women, and hybrid anthropomorphic forms emerge as tidal beings shaped by wind, salt, soil, and the memory of coastal labour. Their bodies inhabit porous, honeycomb-like landscapes suggestive of multiple, entangled worlds.

The exhibition emerges from Venkata Rao’s sustained engagement with the sea as both memory and material condition. His sculptures pulse with the unruly energy of water, responding to the violence of human excess and the ecological aftermath it leaves behind.

Dr. Venkata Rao’s sculptural language moves with the force and unpredictability of water, surging in response to the consequences of human excess. Rooted in the memory of a place once called home and layered with nostalgia, his works unfold through profound spatial and emotional depth. Rather than moralising, he excavates enduring archetypes of time and transformation.

These sculptures resonate with the lived realities of seaside communities for whom the sea remains a lifeline. Here, nature is not a backdrop but the governing force that shapes labour, survival, and everyday life. The works also bear witness to polluted waters, altered coastlines, and bodies marked by ecological imbalance.

As the artist reflects: “My reaction to humanity’s savage flaws has transformed into forms that are partly human and partly animal. Yet my concern for humankind has altered my judgment, turning them into gorgeous gargoyles, metaphorical depictions of metropolitan life and its convoluted existence.”

The sculptures also open a conversation around memory as an ecological archive. In Venkata Rao’s practice, the coastline is not merely a site but a living repository of labour, ritual, erosion, and resilience. Each surface seems to retain traces of weathered histories, allowing the viewer to encounter not only the form itself but the sediment of lives shaped in proximity to the sea.

A compelling tension runs through the exhibition between fragility and monumentality. While the use of bamboo, paper, and fabric suggests delicacy and impermanence, the figures assert an undeniable physical authority. This duality mirrors the condition of the communities they evoke, vulnerable to environmental change, yet enduring through inherited knowledge, collective memory, and adaptation.

What ultimately emerges is a sculptural meditation on coexistence: between the human and the animal, the urban and the elemental, memory and transformation. The works invite viewers to consider how bodies, landscapes, and systems remain deeply entangled, and how the restoration of this relationship may be as much an act of remembrance as it is of responsibility.

This show was inaugurated on 14^th April 2026 by Honourable Guests Dr. Achal Pandya(Professor and Head of the Division(Conservation) Indira Gandhi National Centre for the Arts(IGNCA) Janpath, New Delhi), Mr. Ratan Krishna Saha(Eminent Sculptor) among others.

 

“IN THE FACE OF IT ALL”, Solo Exhibition Of Sculptures By Dr. Venkata At Jehangir Art Gallery

“ATHAHA” Beyond The Boundaries Solo Show Of Paintings By Well-Known Artist Alka Bhrushundi At Jehangir Art Gallery

“From: 3rd to 9th March 2026

“ATHAHA”

Beyond the Boundaries

Solo Show of Paintings by well-known artist Alka Bhrushundi

VENUE:

Jehangir Art Gallery

AC Gallery -1,

161-B, M. G. Road, Kala Ghoda,

Mumbai 400001

Timing: 11am to 7pm.

Contact: +91 7703880130

Alka Bhrushundi’s ‘Athaha’ does not merely contemplate infinity; it constructs it.

In her works, blue is not a backdrop to devotion but a spatial field in which matter, energy, and consciousness appear suspended. The paintings move between vortex and void, between cellular intricacy and cosmic scale. Spirals open like primordial galaxies. Orb-like forms hover as if embryonic worlds. Vein-like calligraphic tracings pulse across surfaces, suggesting neural networks, river deltas, or unseen cosmological diagrams. The language is abstract, yet unmistakably organic.

The artist’s earlier engagement with devotional figuration has not disappeared; it has evolved. What once required an image now unfolds as vibration. The divine is no longer personified but diffused, circulating through colour, texture, and atmosphere. Blue dominates, but it is not singular. It deepens into indigo, fractures with rusted orange, glows with quiet gold. It carries both immersion and combustion.

There is a compelling tension in these works: density and lightness coexist. Feathers drift across turbulent grounds. Gold fissures cut through planetary masses. Mist veils intricate structures beneath. The compositions feel simultaneously microcosmic and macrocosmic; as if we are witnessing the inside of a cell and the birth of a universe in the same breath.

‘Athaha’ proposes infinity not as escape, but as interior expansion. These paintings ask the viewer to recalibrate scale, to consider that vastness may reside within the smallest pulse of awareness. In an era of distraction and speed, this work insists on sustained looking. It resists narration and instead offers immersion.

Infinity here is not decorative mysticism. It is a disciplined exploration of energy, stillness, and threshold. Stand before these works long enough, and the boundary between outer cosmos and inner landscape begins to thin.

This show was inaugurated on 3rd March 2026 by Honourable Guests Shri Rajendra Patil (President -The Bombay Art Society, Founder – India Art Festival), Prof. Dr. Ganesh Tartare(Sir, J.J. School of Art, Mumbai), Shri Rishiraj Sethi (CA, CFA; Director – Aura Art eConnect Pvt.Ltd), Prof. Him Chatterjee( Vice chancellor,  J. J. School of Art, Architecture & Design) Shri Vijayraj Bodhankar(Renowned Artist) among others.

   

“ATHAHA” Beyond The Boundaries Solo Show Of Paintings By Well-Known Artist Alka Bhrushundi At Jehangir Art Gallery

“Echoes Of Silence”Art Exhibition By Renowned Artists – Vikas Malhara, Hemant Dhane In Jehangir Art Gallery

From: 17^th to 23^rd February 2026

“Echoes of Silence”

The Dual Art Exhibition by Contemporary Renowned Artists – Vikas Malhara, Hemant Dhane

VENUE:

Jehangir Art Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 8329932837, +91 9422775921

A Group Exhibition of Paintings by two contemporary renowned artists – Vikas Malhara, Hemant Dhane are showing their recent works in Jehangir Art Gallery, Kala Ghoda, Mumbai from 17th to 23rd February 2026 Between 11am to 7pm.

Vikas Malhara

Vikas Malhara operates within a restrained, inward abstraction where form appears only as a trace and colour functions as a carrier of time. The paintings unfold slowly, built from translucent layers of greys, blues, blacks, and earthen whites, creating surfaces that feel weathered rather than composed. Nothing is declared outright; instead, structures emerge hesitantly, as if remembered rather than invented.

Horizontal bands, softened blocks, and interrupted planes suggest landscapes without geography; psychic terrains shaped by pause, erosion, and silence. Malhara’s brushwork avoids emphasis; marks blur into one another, allowing edges to dissolve. This deliberate refusal of sharp definition creates a sense of suspended movement, where forms seem to hover between appearing and disappearing. Blacks carry weight but not aggression, functioning more like anchors of gravity than gestures of dominance.

What distinguishes these works is their temporality. They appear less painted than settled, as if the surface has absorbed breath, hesitation, and repetition over time. The paintings do not resolve; they remain open, incomplete, and quietly receptive. In a visual culture driven by immediacy and assertion, Malhara’s works insist on slowness. They ask the viewer to linger, to inhabit uncertainty, and to experience abstraction not as an idea, but as a state of being.

Hemant Dhane

In his works, Hemant Dhane pares abstraction down to its most disciplined, inward essentials. Colour is not applied; it is settled. Greens hover like atmospheric fields, reds burn without aggression, and yellows appear as brief, almost ethical interruptions. The surfaces hold a soft grain, suggesting repeated acts of layering, erasure, and restraint rather than expressive excess.

Dhane’s compositions resist centrality. Vertical fissures, muted blocks, and barely-there geometries behave like pauses in thought; structures that emerge only to dissolve back into silence. There is a strong sense of held breath: nothing spills, nothing insists. Even the most saturated reds feel meditative rather than dramatic, as if heat has been absorbed and disciplined by time.

What is striking is the balance between control and vulnerability. These paintings do not perform abstraction; they inhabit it. They ask the viewer to slow down, to register colour as duration and form as residue. The result is a quiet, contemplative abstraction where perception itself becomes the subject.

This show was inaugurated on 17th February 2026 by Honourable Guests – Amoli Jain, Naman Jain, Abhedya Jain, Prakash Waghmare, Milind Joshi, Ravindra Mardia, Ashok Hinge among others.

———Sushma Sabnis (Mumbai)

 

“Echoes Of Silence” Art Exhibition By Renowned Artists – Vikas Malhara, Hemant Dhane In Jehangir Art Gallery

“Divine Texture Of Culture” An Exhibition Of Sculptures By Kiran Shigvan, Karuna Shigvan At Nehru Centre Art Gallery

From: 10th to 16th February 2026

“Divine Texture of Culture”

An Exhibition of Sculptures by Kiran Shigvan, Karuna Shigvan

VENUE:

Nehru Center Art Gallery,

AC Gallery, Dr. Annie Besant Road, Worli, Mumbai 400018

Timing: 11am to 7pm

Contact: +91 77108 68631 / +91 77759 87011

Kiran Shigvan:

Kiran Shigvan’s sculptures operate at the intersection of anatomical precision, restraint, and a sensitivity to material behaviour. Working primarily in fibreglass and bronze, he demonstrates a disciplined command over form, allowing the human figure to emerge not as show but as a site of quiet psychological intensity. His sculptures often appear paused mid-thought or mid-breath, suggesting an inward turn rather than an outward performance. There is no excess here, gesture is economised, surfaces are controlled, and the body is treated as a vessel of lived experience rather than an object of idealisation.

What is striking is Shigvan’s ability to let material speak without overpowering the subject. Fibreglass lends his figures a contemporary immediacy, while bronze anchors them within a longer sculptural lineage, creating a productive tension between the present and the classical. His figures carry the weight of ordinary vulnerability; fatigue, contemplation, resilience, rendered with dignity and restraint. In an age of overstated narratives, Kiran Shigvan’s sculptures insist on slowness, silence, and deep looking.

Karuna Shigvan:

Karuna Shigvan’s sculptural language is lyrical, devotional, and inward-looking, shaped by an enduring engagement with feminine presence, musicality, and mythic memory. Her figures, often women, musicians, or dual-faced visages are not portraits in the literal sense but embodiments of states of being: listening, offering, waiting, remembering. Working with bronze and fibreglass, she builds surfaces through intricate texturing that recalls textiles, jewellery, and ritual ornamentation, allowing the skin of the sculpture to carry cultural memory and form.

There is a musical rhythm in her work; the flute, the peacock feather, the inward-tilted head, suggesting sound translated into stillness. Unlike heroic monumentality, Shigvan’s sculptures favour intimacy and grace; their elongated proportions and softened gestures evoke bhakti traditions and classical Indian aesthetics without slipping into pastiche. The duality of faces hints at layered identities: inner and outer selves, the temporal and the eternal. Her work draws the viewer into a quiet, sustained communion. In a contemporary moment obsessed with speed, Karuna Shigvan’s sculptures reclaim slowness as a form of reverence.

——Sushma Sabnis (Mumbai)

 

“Divine Texture Of Culture” An Exhibition Of Sculptures By Kiran Shigvan, Karuna Shigvan At Nehru Centre Art Gallery